In about three weeks, I will be presenting work that has been part of a year long enquiry process as part of my Masters course at the Guildhall School. Instead of only showing the final and finished product at the very end, I’ll give weekly installments of how it’s going and what I am discovering.
In essence, my research investigates the in-between and live edge, through emergent relationships between myself, materials from coastlines, and prepared piano. I went from having plans to work with live processing and two instrumentalists, to realizing the acoustic sound of the materials is enough. Now it is a trio of myself, the materials and the piano. This choice felt risky and exposing at first, but later became a liberating one which continues to reveal a deeper trust in the enquiry itself. Less is more, and this research has surely challenged me to strip back to reveal the essence of what is needed.
The materials I am using consist of rocks and shells found in coastlines. These thresholds of land and sea are immeasurable to an exact degree, and because they are in constant flux, the nature of how and where these materials are formed are significant aspects to consider in my enquiry. This juxtaposed with a piano, human made and designed to specific detail, shows how the in-between continues to find new connections and meaning within my work.
If you’d like to geek out a bit more like I did on the impossible task of measuring coastlines, I’d recommend reading a bit on the Coastline Paradox. See here an article well put for those of us who are inquiring minds and not theoretical mathematicians studying fractal geometry.