No DoG (Tears 3) (2007)

No DoG (Tears 3) 1:25 mins (warning - volume surges!) Pieced together canned sound effects. Loss of innocence and loss of faith and a violent and slapstick sadness, physicality and volatile combination (the electric surge in water). No DoG incepted as a visual pun, imagining the subjects, both kitchy and tender in Walter/Margaret Keane paintings - the sad, huge-eyed, small-bodied urchin children - crying and therefore drowning in their own tears. It was then layered minimally, and conceptually expanded.

The audio works, generally:

Aberrant structures, mixing hard and tender. I reprocess sounds - iconic songs and sounds, field recordings made with bad equipment, the random buzz on the periphery of machines, noises reaching into the red of the dial, a clipped word or breathe and bits of (real) punk rock and silence - combining them aesthetically and to evoke muscle and pathos, for a formidable formal presence as much ...

Full Description

No DoG (Tears 3) 1:25 mins (warning - volume surges!) Pieced together canned sound effects. Loss of innocence and loss of faith and a violent and slapstick sadness, physicality and volatile combination (the electric surge in water). No DoG incepted as a visual pun, imagining the subjects, both kitchy and tender in Walter/Margaret Keane paintings - the sad, huge-eyed, small-bodied urchin children - crying and therefore drowning in their own tears. It was then layered minimally, and conceptually expanded.

The audio works, generally:

Aberrant structures, mixing hard and tender. I reprocess sounds - iconic songs and sounds, field recordings made with bad equipment, the random buzz on the periphery of machines, noises reaching into the red of the dial, a clipped word or breathe and bits of (real) punk rock and silence - combining them aesthetically and to evoke muscle and pathos, for a formidable formal presence as much as to convey meaning. I like to play with timing and motion to create experiential kinds of physicality, and drama like something witnessed in passing on the street. My subjects move in some subterranean level, in new ways, utter parts of narratives to imply a bigger story - creatures, things or ideas having a quiet, mysterious, animated or reanimated life.

Tag as - plunderphonics; Joe Meek's bathroom; tincore; concrete; under two minutes; Poor-Tools; smart muscle; lo-fi

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