Hobart, 2016 / 2017
Steel, Aluminium, Speakers, Stereoscopic camera, White LED, Code
Over time, our senses have evolved to tune into the stimuli necessary for survival. How do these actions of survival inform our cultural or creative output?
The human body can be considered an instrument, our movements creating vibrations both within and beyond the limits of our senses. As we navigate through our environment, we tune into this stimuli. Constantly adapting - creating an evolving feedback loop between ourselves and surrounding space.
440Hz tunes into this field, utilising light and sound to translate energy into a form which we can see, hear and feel - enabling a physical and emotional response. The canvas surrounds the participant, continuously being re-sculpting and transformed in direct response to their actions.
The installation begins with a dense sonic palette - a noise field which is random in its behaviour. Individual body movements are combined to create order and define the character of the instrument. Sounds are built up over time to create richer timbres and harmonies as they respond to actions such as fast, large gestures or to more controlled or delicate motion.
Light is structured to establish a visual language, which creates a form of abstract music notation. Combining the character of the sound with the form of the body in order to amplify the participants’ awareness of both their self and influence on the surrounding environment.
440Hz is one of nine new commissions created for ‘On the Origin of Art’ at MONA, an exhibition which included more than 230 objects from 35 countries, spanning millennia and cultures with artworks by Pierre-Auguste Renoir, Jeff Koons, Yayoi Kusama, Takashi Murakami, Bridget Riley, Hiroshi Sugimoto, Georgia O’Keeffe, Mat Collishaw, Andy Goldsworthy and Cindy Sherman.
Sound design by Scanner and Ben Kreukniet
Pictures by Rémi Chauvin