1. What type is that?

A row of polaroids, like a pictorial list (maybe there’s a word for that: museum) depicting plants and their successive names, yep, in Latin.

‘They are making art out of my profession’, Bec says.

She has been bold with her co-workers who assume an identity for her. Is she married, “no”.

They (the artists) are talking about plants. From small (seeds) to big (sometimes green, others flowered). Will this audience witness growing time? How long will they need to stay? Is this durational? Botanical snap shots. Moving, scene by scene through the glass house. No human life visible.

2. Fade to Glass

A rectangle of wooden benches, each surface, slightly damp, like a light rain fall, the smell of dirt, winter. A microphone isolated in a deep black void of a forgotten hall, locked. Hissing maybe, sharp, pipes, metallic, could be fire, or just breath, a play on breathing. Sub sounds, beneath benches, an invisible audience, no response.a tap on the microphone. No-one gathers and looks in. It’s not a circle. There was no reason for anyone to be here. And then a kind of hum. The doors to the great hall. Sweeping. Nothing like a stone on a window. Rapt.

3. Process

It usually begins with a title, a key, a way in, something that can base a complex associations of ideas and possibilities. In recent times, specifically in making work that is driven by both sonic and visual concepts, I have been developing work that is analogous to creating a full-length cd/lp. Starting with the idea that there could be anywhere from 10-12 “tracks” which make a whole long-playing experience. I suppose this stems from my ongoing experiences as a musician constructing a series of recordings for public release: within this structural framework, so much is freed up, because the apparent non-linearity of a lot of contemporary work strives for some sort of ‘dramaturgical’ coherence – this to me provides that. It is like making ’scenes’ for an imaginary reality of strange logic.

This cd/lp structural approach also allows an audience/viewers/listeners a ‘way in’, whether it is through an explicit statement that outlines this, or through use of inter-titles, or really, quite simply composing 10-12 ‘tracks’ of sound work (or music pieces) that indicate a shift in the work.