…sounding and walking with edges:
My modes of practice have oscillated over the years between sound, text and performance. Generally, these modes have been combined in one way or another and glued together by visual elements. Alongside this, walking has been a constant inspiration, and more latterly a mode of productiuon, as I began to focus on GPS-based ambulant sound (For example: Sounds of Teotihuacan project) and trans-locational performance DisplacementActivities. One of the key aspects that I have found particularly fascinating about sound is its ability to penetrate deeply while being so fleeting. Periodic ritual walking echoes this quality by heightening awareness of Deep Time as an infinitesimal process we experience constantly yet seldom notice. Politics is immanent in any art that engages with boundaries and edges, improvising freely with both human and non-human forms of obstruction. In such circumstances, any movement whatsoever has the potential to be revolutionary: persistence of direction pervades through oscillation.
Martin Shaw has referred to a ‘True North in my heart’ that appears to be a form of Deep Morality conjured from the depths of biological and geological time. It seems to me that several exceptional artists discovered their True North early on in life and this gave great focus to their work. Not so for me, I seem to have wobbled around Magnetic North for most of the time, but my navigational skills have certainly improved since I became aware of the difference between the two. Experimental sound remains central, and so a text such as this is probably heading towards my Grid North.
vimeo: simon bradley