Description
These films compliment the installation of icicles. Click on the film title to view
Le Sirenuse is a collaborative video and performance led by interdisciplinary artist Carrie Fertig. Alistair MacDonald performs live electronics and sound design and Stu Brown is lead percussionist. All three perform on glass instruments developed by Fertig, who blows new glass instruments during the performance by heating the glass in the fire of her desktop torch in the process of flameworking, introducing new tones to the soundscape.
Drift is a three screen moving image work, here reduced to one screen. Part of my “Passing Places” body of work which seeks to answer “What would be a compelling environment in which to die? Drift was first exhibited at the Royal Scottish Academy in Summa, RSA Residencies Exhibition in May-July 2017. With many thanks to and support from The Royal Scottish Academy and Creative Scotland. Drift is the first of five videos in that exhibition.
The installation transforms the Reading Room at the Veste Coburg, Germany, into an intimate space of glass, sound and emotions. AuskAusklingen turns the entire room into a giant musical instrument. Visitors are invited to sit, to think, to rest and gently to play the thousands of glass chimes that transform this contemplative space.
Transition Tango is an immersive experience existing in a virtual reality headset. It is a love letter to my tango community, still on hold because of Covid. Everything in Transition Tango, except the dancers, is made from a still image of real life immersive experience, Ausklingen (Fade Away) my sound installation in the Veste Coburg, Germany, made of thousands of flameworked icicles. Thousands of people visited Ausklingen, but the potential global audience in the metaverse is limitless.
VR can transform existing work into entirely new artworks, without introducing more objects, consuming more energy and increasing carbon footprint to do so.
“The idea for Plummet sprang from my own experience of shielding and isolation from other people in the Highlands of Scotland over the past year and a half. This has mostly been spent in total sensory immersion in nature. Incremental changes in water, plants, animals, atmosphere, and most especially sound, highlighted gains made when humans drastically changed their behaviour, forced by Covid-19. I was without a usable studio for that time and was so fortunate to spend the first lockdown on a 13,000-acre, nearly human-less remote landscape. This wonderland of nature became my studio. This experience has formatively changed my practice and life. I have since relocated to rural Aberdeenshire and am surrounded by animals, birds, and trees in a pastoral idyll.”