|
|
|
|
|
|
|
|
|
|
|
LP
|
|
RM 4150LP
|
The sound of an ember of recollection that smolders without extinction. An atomic pressure wave of memory, blurred through hypnogogia. An unwritten transcription of speculative consciousness. A slit through which of materials erupt.
A note from Lawrence English: "When I was child I had two recurring dreams. Both these dreams were tethered to the house I lived in. It was a rambling home which was high set but underneath it was largely unfinished. The underside of the house was a labyrinth of small rooms, concrete pits and a collection of building materials, piping and leftover furniture sat alongside beds of dirt that had a consistency of lunar dust. The first recurring dream was of a burning bird, falling from the sky past the kitchen window in the early hours of the morning . . . This dream has never returned to me as an adult, though I can vividly recount it. The second dream has recently emerged, albeit a distant hazy reference to the tangible intensity that I experienced when I was younger. This dream was one buried deep within the labyrinthian, unfinished features that existed under my house. The dream usually started with me playing on the lunar dirt and gradually a sound would emerge from a large concrete pit that was in the center of the space. The sound would get louder and eventually I would have to go and inspect it. It called me in, there's no other way to describe it. As I looked into the pit, there was always some kind of hatch, often resembling a pressure door, the type you might see in a submarine film, and the sound would emanate from underneath that hatch. It was also a throbbing, hammering type of sound, deeply diminished and buried, like hearing bass music from a car parked up the block . . . I was surprised that, over the past year, this dream has returned to me. Perhaps it's a result of the general quietening of the world and that innate way our ears can open up to even the most subtle acoustic shifts when we are sleeping. Remote sounds, usually hidden in the din of the urban nightscape, were filtering into my dreams and triggering some kind of speculative consciousness . . . Last year, I mentioned this dream to Jamie, and he too reported unsteady sleep patterns. This got us to thinking about how the dynamics of the world have recently shifted towards the emergence of the natural world. Equally though it has shifted in favor of its shadow; those ongoing industrial, mechanical and other acoustic by-products of human (and unhuman) labor reach out from the hushed ambient noise floor..."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
EDRM 426LP
|
In 2015, Brisbane's Gallery Of Modern Art presented David Lynch: Between Two Worlds, a major retrospective of Lynch's works across painting, sculpture, installation and photography. To celebrate the retrospective curator, José Da Silva, with David Lynch and his studio, developed a number of commissions in conjunction with the exhibition. One of these commissions was HEXA's sonic response to David Lynch's Factory Photographs. When asked recently about his decades long interest in photographing factories in various states of disuse, David Lynch remarked "I grew up in the north-west of America where there are no factories at all, just woods and farms. But my mother was from Brooklyn, so when I was little we used to go there and I got a taste for a certain kind of architecture and a feeling for machines and smoke and fear. To me, the ideal factory location has no real nature, except winter-dead black trees and oil-soaked earth. Time disappears when I'm shooting in a factory, it's really beautiful. " HEXA, aka Lawrence English and Jamie Stewart (Xiu Xiu), met in 2009. Initially connecting through their mutual admiration of affective sound, 20th century Japanese photography and birdwatching, it wasn't long before the pair found themselves discussing possible musical collaborations. After some months considering exactly what might drive this undertaking, they decided the work should chart out mutual sonic interests that occupy the space beyond of their individual practices. After developing a dynamic sonic methodology, their project began to take form through the trading of various materials and ideas. Meeting in various locations as their tour schedules haphazardly crossed paths, the two began to form a focused mode of operation that concerned itself primarily with physically affective sound, cycling rhythm and intense textural density. Deciding on the name HEXA, their work together became quickly focused on the David Lynch Factory Photographs project following the Gallery Of Modern Art's commission captured in this edition. HEXA will present Factory Photographs as an audio visual work in 2017. David Lynch has kindly allowed the original visual montage of his photographs to be presented as part of the piece as it was during the debut performance in Brisbane during 2015.
|