Gary James Joynes
Since 2008
Works in Edmonton Canada

BIO
GARY JAMES JOYNES is a sound artist, composer and visual artist from Edmonton, Canada. He is fascinated by the sources of electronic composition and the ever-evolving language of technology; objects and mechanisms stimulate his process. As CLINKER, his work explores meditative spaces and the kinesthetic and synaesthetic effects of sound and visuals.

Recent work includes WAVE DRIFTING an experimental audio-visual piece that will have its world premiere at London’s GALERIE8 SOUND WAVES in August 2011. His sound and visual installation FREQUENCY PAINTING: 12 TONES premiered at the LATITUDE 53 ART GALLERY in January 2011. Clinker's most recent Live Cinema work On the Other Side... was commissioned by the 2008 INTERNATIONAL LEONARD COHEN FESTIVAL and has toured internationally. A film score for the NATIONAL FILM BOARD OF CANADA'S award winning feature documentary DIRT was composed by Clinker and premiered at the Vancouver DOXA Festival in May 2008. He was selected to open the Montreal MUTEK FESTIVAL 8TH. EDITION with his 2007 Live Cinema performance work Provody.

CLINKER'S latest full-length audio work entitled On the Other Side... (for L.Cohen) was released to critical acclaim on the Los Angeles Sound Art Label DRAGON'S EYE RECORDINGS in January of 2009. Through the Fall/Winter of 2009 Clinker was an artist in residence at the BANFF CENTRE OF THE ARTS (BNMI) advancing new ideas in visual music for future audio-visual sculptural installations.

Recent Live Cinema performances include ELECTRIC FIELDS 2010 (Ottawa), MOUNTAIN COMPUTER MUSIC FESTIVAL 2010 (Montana), ROULETTE MIXOLOGY FESTIVAL 2010 (New York), HIGH PERFORMANCE RODEO 2010 & 2011 (Calgary), (((SOUNDWAVE))) (Vancouver Island), MUTEK_10 (Montreal), EMMEDIA SONIC BOOM 2009 (Calgary), BANFF CENTRE OF THE ARTS - INTERACTIVE SCREEN (2008 & 2007 editions) and the 2008 LEONARD COHEN INTERNATIONAL FESTIVAL.

The last few years have seen Clinker's work performed and exhibited in Canada and abroad in festivals including TANZSTARTKLAR FESTIVAL 2008 (Graz, Austria), NEW FORMS FESTIVAL 2007 & 2003 (Vancouver), SPRAWL - INTERPLAY_4 FESTIVAL 2007 (Amsterdam, Dublin, London, Bristol), SEA OF SOUND FESTIVAL 2005 (The Works - Edmonton), MUTEK Le PLACARD FESTIVAL 2005 (Montreal), STANDART 2003 (Madrid, Spain). In May 2003 CLINKER made his premiere outside his native Alberta at the 2003 MUTEK Festival.
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EVENT

Gary James Joynes/Clinker FREQUENCY PAINTING: 12 TONES


Dates:
Fri Jan 14, 2011 00:00 - Thu Jan 06, 2011

Location:
Canada

image

Gary James Joynes
Clinker
Frequency Painting: 12 Tones

The series “Frequency Painting” by artist Gary James Joynes, also known through his recording moniker Clinker, is an evocation of synaesthetic minimalism.

Through his career in music Clinker/Gary has explored the use of electrons to create sound pieces built from pure tones, harmonics, drones, bleeps and overtones. He has built a unique analog synthesizer and a wide repertoire of intensely individual and unreproduceable sounds. Via experiments in Live Cinema, performing improvisational realtime video plus audio pieces Gary has also developed a minimalist visual vocabulary that has led to his current experiments in synaesthesia and the documentation of private performances.

Gary has imagined a world where sound is form and can be embodied within visible as well as audible wavelengths. Using his analog electronic wonder to generate both simple tones and the swept and pulsed sound signals of his musical compositions, Gary created a machine with which he could manifest the visual identity of his sounds. With the support of the Banff Centre of the Arts he has spent months experimenting to find the resonant frequencies visible in his new body of work.

Tonal energy, featured in cultures the world over has been used to promote healing, balance, meditation, prayer, comfort and peace. Similarly, sand painting, mandalas and non-object based imagery has represented the unknowable, the universal, the infinite. Cultural memory in the global community contains similar pure forms to the images in the Frequency Painting series and 12 Tones: Buddhist walking meditation gardens, the abstract patterns that form the decorative world of the Muslim faith, stained glass shadows and illuminated manuscripts in the western world. Are these inventions of human creativity or the physical manifestation of sound in our worlds? Perhaps Gregorian chants, Buddhist meditation vocalization and the call to prayer trigger an innate and synaesthetic connection leading to the visual content of our disparate cultures. Similarly, Inuit throat singing and the sound of the instruments of the original Australian people could be seen as the sonic counterpoint to sand snow and ice designs created by physical forces in a frigid north and brutally barren outback.

The Frequency Painting series by Gary James Joynes offers us a link to these pure aesthetic truths explored over hundreds of millennia using technology based in the recent analog age, and documented with the best the digital age has to offer. The exhibition provides an opportunity to be both confused and enlightened.

The images presented in “Frequency Painting” are the culmination of hours of bombardment by finely tuned and intensely high volume sound waves. Tones driven through a custom designed machine to capture the resonant frequencies that would give form and pattern to particulate matter set in motion on a steel plate. A modern mandala created through near anachronistic technology, each image is the visible form of the sound that created it.

In 12 Tones, the first manifestation of the Frequency Painting series, we are introduced to sound and vision conjoined through the unique sculptural multimedia units of the exhibition. As the viewer is drawn into the jarring near symmetry of the monochromatic photographic abstraction, an intimate relationship between image and viewer is created. The beauty of the abstract appearing form pulls the observer in and holds them as the serpiginous shape is revisioned as a truly hyperrealistic image. The audible nature of the installation is dependant on the presence of its’ viewers - as we move through the installation we become the force that changes both volume and character of sounds coming from the individual pieces and the instrument as a whole.

To confront a piece at close quarters will enfold the viewer in a visual and auditory storm mimicking that of the artist’s experience in performing with his machines and that of the synaesthete, both blessed and cursed by the comingling of senses. With each change in volume the sounds conflict and interfere with each other, creating a moving and everchanging soundtrack of binaural beating and phase shifts. Even small changes in the listener’s position in any dimension bring an entirely changed sonic world. Participants experience a composition played by the installation in concert with the other viewers moving through the space changing volumes and impeding sound waves. Location, height, head position, and shared experience all matter in a world where no two participants will hear exactly the same composition.

Synaesthesia; a sensation produced in one sensory modality through stimulation of another modality
Mandala: a schematized representation of the cosmos, chiefly characterized by a concentric configuration of geometric shapes, each of which contains an image of a deity or an attribute of a deity. a symbol representing the effort to reunify the self.

ESSAY BY DR. DAVID CANDLER

SPECIAL CREDIT AND THANK YOU to SCOTT SMALLWOOD
(Custom electronics design and software programming)

www.clinkersound.com