13-21 september 2014
Cambridge Museum of Technology, The Old Pumping Station, Cheddars Lane, Cambridge, CB5 8LD
exhibition: saturdays and sundays, 1–6pm. free entry
live event: saturday 20 september, 5-8pm, £7
this piece uses unprocessed field recordings that capture moments where water, in various states:
— interacts, filled with crayfish, with shack support poles on the hozugawa river, japan
— acts as a sound carrier for aquatic insects in the paiva river, portugal
— mixes with acetic acid to dissolve iron ore in the dolomites, italy
— vents as steam through tundra, iceland
— resonates a foot bridge in the val d’aupa, italy
— recordings were made using JrF hydrophones, contact microphones and geophones — 2011—2014
Jez riley French (b. 1965)
'My work involves elements of intuitive composition, field recording (using conventional & extended methods), photographic images / photographic scores and improvisation.
In recent years I have been working closely with specific spaces (natural and constructed), capturing moments that connect with a personal sense of place. I am fascinated and passionate about the infinite detail and expanding vistas of life around us, its sights and sounds, often overlooked or hidden, and their ability to help us experience anew the environments in which we spend our time. My creative output focuses on this exploration and has increasingly involved a closer relationship with audible silence, active listening, stillness & the empathy of compositional lines. These evolved from my need to always remain open to my emotive, intuitive response to situations & environments' — JrF
Commissioned and premiered by bad timing/hidden channels for this event. As well as rising to over 50m above ground, as a former pumping station the construction, condition and natural soundscapes of the main museum building have all been determined by the nature of water and working with it. In the gas engine room the building can be seen to descend far into the ground and below the level of the adjacent river Cam. A frequent visitor to Cambridge, Jez Riley French constructs and uses hydrophones and geophones to record underwater and subterranean spaces. His recordings of the spaces within Kettle's Yard are some of the only environmental sound recordings (not music or speech) of Cambridge to be held in the British Library Sound Archive.
Lee Perry described dub as "the ghost in me coming out"
Ghost in the machine music — vinyl dissonance for lost memories: a live dubbed rhythmical collage made of squeezed record crackle, analogue synthesizer, dubplates of field recordings, dusty shellac records and clumsily triggered drum machines
As an artist I make things in lots of different formats, but generally to do with either Sound or Found Objects in some way.
My background is in experimental music and this continues into the art I make and how I go about it. I use experimentation and play as a main part of my making process. I also like to set myself restrictions for my projects similarly to the way scientific experiments are conducted. Noise — as unwanted sound like record crackle or tape hiss — often features in my work, and a visual equivalent in dirt, dust or decay. I often try and repeat a visual process with audio, and vice versa.
I like to think about Time as a concept and its implications on our everyday lives: How people store their memories, in personal archives — photographs, audio journals, post-it notes — and what becomes of those archives. I find discarded objects interesting in themselves, for the stories that they suggest or that can be read into them. Collecting things has always held a fascination for me, both to do myself and to look at the way others do it.
Binaural performances for single audience members