Saturday 10 October, 12pm
Giving voice to Hannah Gartside’s new sculptural installation I love you, keep going for MSB26, Piercing the mist is an experimental sound piece performed by musician and artist Skye McNicol on violin, accompanied by interdisciplinary sound artist and performer Erin K Taylor on frame drum.
Both of Gartside’s artworks for MSB26, Growing up and I love you, keep going, use her personal biography to confront the archetype of the unmothered child.
Gartside explains, “I see this work as an opening-up spell. I think that it physically articulates my internal process, that of reckoning, of moving into an unknown future stepping through the detritus of the past. Piercing the mist gives viewers (and myself) the chance to sit together, listen, and experience being in our own energy pockets alone but together, taken through a sound performance which articulates this delicate journey, led by two deft and sensitive performers.”
This sound piece will be performed alongside Hannah Gartside's artist talk.
Skye McNicol is a Meanjin/Brisbane based violinist, drawn to the outside, underneath and inexplicable of existence. Classically trained from a young age, she quickly found her way to improvised experimental music and extended technique through her search for a more fluid way to interact with the world. Sound and performance form a conduit for shared emotional experience, connection and open exploration. This fascination has taken her from experimental site-specific performances to no-wave pop via absurdist punk, alt country, romantic ambient noise and beyond.
Skye's most recent work with psycho-acoustic duo Owchi (with Nicola Morton - voice) focuses on subliminal fables of environmental destruction. Owchi conjure an intense immersive atmosphere through lighting and otherworldly effect-soaked sound. A deeply felt reckoning for nature under siege.
Erin K Taylor is an interdisciplinary sound artist and performer whose practice begins with deep listening. Working across sound, improvisation, installation, immersive environments, theatre and sound healing, they use different instruments and forms as tools for the same underlying practice: listening deeply, channelling what is encountered, and reflecting back into the world. Their work is grounded in presence, sensitivity and a willingness to enter the unknown, attending to the energetic, emotive and ineffable dimensions of experience. Drawing on along engagement with experimental music and drumming, as well as seven years of study within the Tibetan Buddhist tradition of sound healing, Erin approaches sound as a means of moving beyond the self and opening spaces for revelation and transformation.