The basic
of this sound action is to play the sympathies of the room's resonant
structure, shaped by its architectural singularity,
and whose narrative path remains permeable to the present moment. This
is achieved by using exclusively acoustic means of sound production
generated by the body's movements.
My first inspiration to produce
a
continuous sound with a percussive
instrument evolved through an
investigative process
of the acoustic qualities of the
performance
space. I picking out various
objects and implements
over travels tours,
and in working residency I have
adapted this piece to be played on
a large drum, which is used as
a acoustic amplifier.
I
develop an intimate affinity with
the
materials in vibration. I have to
evaluate
these vibrations in my body at
different
levels, to be able to
coordinate my postures and
movements, but also like the archer with Kyudo, tuned
the mind to it. For give
life
to these vibrations I have used, since 2008, an dextrocentrique
circumambulation. These sounds are often compared to
certain
sounds
produced by synthesizers but also to the magnitude
that an orchestra
can. However, these sounds
depends of the reflective
quality of surrounding surfaces, and on the
volume of the performance space itself.
These sounds have unusual sonic textures, they escape traditional
percussion registers. They test the limits of our perception,
from
infra to ultrasonic, by playing phase shifts. They insert
themselves
into the intimacy of matter, through micro vibration,
and we are
presented with an audio saturation by noise density. The flow of
these evokes both
restraint and excess, immersion
and timelessness.
It is not a concert, it is
not a performance, it is not a sound massage; it is not drone music,
it's not noisy or improvised or contemporary; it's not a circus act or
a choreography; it's not a satanic ritual, or a photo or video shoot
for your smartphones or your electronic stuff.
It's "No Es" and that can only be
beyond your comprehension.
