Artist's workshop programme with Benedict Drew, Anne Hardy, Tom Richards, Aura Satz and Imogen Stidworthy.
Resonant Frequencies is one of DRAF’s (David Roberts Art Foundation) autumn 2019 programme elements and encompasses a three-part project concerning sound, noise and hearing. The first element of the project is a peer-to-peer workshop programme spread over six days in July, September and October. The programme offers a group of specially selected artists the opportunity to develop their practice at a mid-career stage, collaborate and experiment. We bring together artists from a sound art background or who consider sound to be a crucial element in their work.
The first two days of the workshop were hosted by Wysing Arts Centre on 10 and 11 July 2019. Participating artists were: Benedict Drew, Anne Hardy, Tom Richards, Aura Satz and Imogen Stidworthy
Sound artist and expert in the field of sound recording Jez Riley French hosted ‘The act and art of located sound’, a day with theoretical and practical sessions on field recording. The morning covered the basic elements of various field recording techniques, extended methods, the prime importance of listening and the materiality of sound. In the afternoon, Jez and the participants conducted field recordings in and around the site. The day concluded with a listening session to review the recordings made and discuss.
Sound technician and sound artist Lottie Poulet hosted a day of technical training in Wysing’s recording studio. The morning session looked into equalisation and the 4-hour afternoon session explored mixing and mastering.
Benedict Drew works across video, sculpture, music and their associated technologies. He creates large-scale installations, often concerned with ecstatic responses to socio-political anxiety. Solo exhibitions include The Trickle-Down Syndrome, Whitechapel Gallery, London; KAPUT, QUAD Gallery, Derby; Walker Gallery, Liverpool; THE ANTI ECSTATIC MACHINES and Heads May Roll, Matt’s Gallery, London.
Anne Hardy works with large scale installation, audio, film and photography. Hardy’s constructed environments situate us in precise relationships to physical worlds charged by psychological states. Her immersive FIELD work installations are sensory and fluctuating spaces that introduce a shift in perception - a temporary reconfiguring of reality exploring transience and impermanence as a transformative, potentially spiritual, space that can expand our awareness of the worlds we inhabit.
Tom Richards is an artist, musician, DJ, researcher and instrument designer. He has walked the line between sonic art, sculpture and music since graduating with an MA in Fine Art from Chelsea College of Art in 2004. Richards has built his own idiosyncratic modular electronic music system, with which he creates slowly evolving and heavily textured polyrhythmic improvisations.
Aura Satz’s work centres on the trope of ventriloquism in order to conceptualise a distributed, expanded and shared notion of voice. Works are made in conversation and use dialogue as both method and subject matter. She has completed several works on women in electronic music such as Daphne Oram, Laurie Spiegel, and Pauline Oliveros. Satz is interested in notation systems, and methods of writing sound or musical transmission.
Imogen Stidworthy’s work focuses on the voice as a sculptural material in investigations into different forms of language and relationship. She works with people who inhabit the borders of language, whose relation to language is affected by conditions such as aphasia or the effects of overwhelming experiences. Often combining the staged and the observed, Stidworthy makes films and installations and uses a wide range of media including sculptural objects, print, and photography.
DRAF (David Roberts Art Foundation) is an independent, non-profit organisation for contemporary art dedicated to the transformative forces of the art encounter. DRAF has welcomed over 100,000 visitors to thought-provoking and challenging international programmes including exhibitions, commissions, performances and discussions, since it was founded in 2007. To date, DRAF has partnered with over 100 museums, institutions, and not for profit organisations and collaborated with over 1,000 artists, cultivating networks in order to amplify the impact of art in the UK and beyond.