Part of the ‘score’ I want to produce for Tadek is in the form of a film storyboard. I have been working on that this morning, along with searching for a chalk core sample for the exhibition next week.
This month I am really looking forward to my short residency and collaboration at the Hardwick Gallery, 7th to 18th March, called Score for a Flautist. I will be working with Tadek to create an improvised soundtrack/performance for the ‘Deep Time Chalk Futures’ project. More info is on the Hardwick website. There might be a presentation of the work on the second Thursday, that is the 17th, 5–7pm, but this is yet to be confirmed. I will keep you posted.
In normal beatboxing all the sounds are made by manipulating the human voice box (as seen here in this x-ray of the mouth and tongue articulating the main vowels). What is different when using the flute to beatbox it that the instrument becomes the voice box. Why all this interest in beatboxing? Well, I am going to learn much more about it over the next few weeks as I work with the international beatbox flautist Tadek Chylinski-Reid to explore how we might collaborate to make something for the climate-change project ‘Deep Time Chalk Futures’. Our starting point is Jerusalem. (Image: Jones, Daniel. (1972). An outline of English phonetics (9th ed.). Cambridge: W. Heffer & Sons Ltd)
Well, it’s been awhile since the last post, but with the sun out and spring in the air it’s now time to get going again. It was in the preface to his book Milton that William Blake included this short poem (1808). Overlooked until a century later when it was set to music by Sir Hubert Parry, the anthem Jerusalem has since then come to represent all that is quintessentially English (not to mention those barefoot athletes running along the beach). I am starting to work with this song as the next stage in my ‘Deep Time Chalk Futures’ project, following on from Giants of Albion, and have found a musician to collaborate with. More tomorrow…
Last week I installed the first part of the Giants of Albion series in Winchester Cathedral for the 10 Days Winchester arts biennial (which is longer than ten days, running until Nov 7th). It has been quite a process to find a way of exhibiting the drawings in a way that resonates with the location, and that respects the fabric of the building. They stand about two metres from the floor, in the north transept.I will be there on the evening of Oct 24th, when there is a special event for the cathedral exhibition. Everyone is welcome, and you get free entrance to the cathedral too! Would be lovely to see you.
Just spent a fantastic few days ‘live drawing’ in the Line Gallery. Chalk on blackboard. Here is a panoramic shot of the gallery before I cleared all my stuff out earlier today. If only my studio was this big (and clean!). Thanks David and Jessie for the chance to use the gallery.
Summer’s over! Time to get back to work. Had my time by the lake, eating cake drinking coffee, swinging in the hammock reading (and struggling at times with) Nick Lane’s The Vital Question. If he is to be believed then genes and natural selection are just a side show (so much for all that zoology I studied at Uni!), its chemistry that rules the roost. Life goes where the energy flows. Quite appropriate really, as I enter an autumn working with the chemistry of chalk; how it can act as a litmus to climate change. But time for just one more trip down to the lake. It’s windy at the moment, storm brewing, snails on the path, but the water is still warm. Roddy, you might recognise your Mexican hammock!