Rooted in experimentation and closely linked to the development of new technologies, audio art is a practice that crosses disciplinary divides and is becoming increasingly hard to define. Many argue that audio art can only be recognised when sound is both the subject and object of the work but this excludes audio works that utilise sound as a methodology rather than as an absolute. The Axis Audio Gallery features works that use sound as a medium as well as works that address the subject of sound and/or the experience of sound. Covering just three key aspects of contemporary sound art, the Gallery operates as a brief snapshot of Axis artists working with or within audio arts.
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The Mechanics of Language
Working with sound inevitably allows artists to explore the various facets of the human voice whether as raw sound or as oration.
Sofia Tilberg's 'And then you're Dead' (2004) is a sound piece that uses storytelling to explore the more emotive areas of our verbal experience and understanding. Tillberg uses the power of her voice, combining its narrative and lyrical components and using techniques often found in traditional folk storytelling such as improvisation, music, song and the dramatic powers of silence and internation.
|  Charlotte Bernstein
Truths, Lies and Knitting, 2003 | | Working with sound also allows artists to confront the ambiguities of verbal communication. Charlotte Bernstein's 'Truths, Lies and Knitting' (2003) is based on the perception of everyday fragments of information. During a residency at RE. Projects, Bernstein asked various people she met to tell a truth and/or lie about themselves. Digital audio footage of these conversations was then layered with other assorted audio material and the final sound piece was emanated from multiple sites. Bernstein exploits the anxiety provoked when words become disconnected or incomprehensible. |
Sound, Time and Place
| There is a specific relationship between sound, time and space. Sound operates within space, gaining definition from the environment in which it is heard or recorded and lending definition (reshaping or disrupting) the spatial organisation of that same environment. In Lisa O'Brien's work the audio and visual are of equal importance. O'Brien is interested in the potential of music and language to interpret a place or experience. She acknowledges that sound is durational; tied to a specific time or place but often chooses to disrupt this natural relationship in order to challenge our perceptions. In 'Annat' (2004) she explores whether sound can still influence our experience in a dramatic or overbearing landscape. Taking her ghetto blaster down to the beach at Annat, O'Brien videoed and recorded herself playing different types of music. The music sets up very definite experiences of duration but this is then contrasted with the video and sound recordings which operate in real time. | |   Lisa O'Brien
Annat, 2004 |
| Abby Sohn
Shinui, Sound Installation for Sense in Place, 2005 
| | Abby Sohn's installation for Sense in Place (2005) was created at the Kestenberg Factory, Lodz and makes use of the traditional sounds of a shofar (or ram's horn) an instrument traditionally used to announce important events such as the alarm of war or the coming of peace. It is also used to call in Rosh HaShana (the Jewish New Year) or to end Yom Kippur (the Day of Atonement). For the duration of the exhibition, the distinctive sound of the horn was heard each night at sunset from the roof top of the Kestenberg factory. The shofar takes on a unifying role, tying together the past and present of the site of the factory and calling in the future. |
| Simon Whetham's 'Iceland Soundtrack' is a collection of evocative audio footage that introduces the idea of 'found' sound. In these portraits, Whetham uses field recordings taken during a trip to Iceland and manipulates the sounds using a variety of techniques. By isolating key noises and rhythms, dropping, stretching, layering or reducing, the basis of the sound is exposed and other tones are discovered. These sound recordings describe specific environments; remote and desolate places that the audience might never experienced first hand. | | 
Simon Whetham
Reykjavik Gangplank 2, 2006 | | 
Simon Whetham
Reykjavik Thermal Shock, 2006 |
Digital Technology and Music Culture
The creation of sound as an expressive medium has changed radically over the past years with the growth of digital technology. In consequence, remix & DJ culture, collaborative digital sound & music projects, pure sound, audio-visual installation environments and software & network based projects are making increasingly frequent appearances in contemporary arts. These works often operate or overlap with music culture.
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Slender Whiteman live at the Matterhorn, 2002 | | Torsten Lauschmann Torsten Lauschmann's broad ranging practice includes music and music software projects which culminate in regular live music/DJ performances. In 2002 under the guise of 'Slender Whiteman' (his music-alter ego), Lauschmann undertook a one-man European busking tour. Accompanied by his portable solar powered dub system (influenced by Jamaican dancehall sound systems) Laushmann travelled around Europe playing his own music (made with Absynth, Abelton Live, MAX/MSP) as well as music by other DJ's. The aim for Lauschmann, was to bring these sounds, which the commercial media doesn't play into real public places, amongst real people. |
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Researched and curated by Ambrosine Allen, September 2006.
Artists' CV & artwork pages
Sofia Tilberg
Charlotte Bernstein
Lisa O'Brien
Abby Sohn
Simon Whetham
Torsten Lauschmann
