7 sketches for a dark pit 2008
14 speakers, Randomly played audio cds, cd players, wire
Taking influence from Jan Svankmajer's short film 'pendulum, pit, hope', varying Foley effects are recorded as individual sound sketches. Often such techniques are presented in film to highlight what the film narrative directs, and as such the intent listening that can take place in a cinematic context (the more acoustically dead cinema space) is displaced further beyond the moment of looking.
Re-contextualising these sound sketches in a gallery space minus any image (and a fixed cohesive time line for it) changes the perception of any descriptive elements in the sound, becoming a more abstract and concrete listening. Sounds are played back randomly making different aural connections within the space in a longer duration.
Ironically, the original short story of Edgar Allen Poe's 'The pit and the pendulum' (which was the basis for Svanmajer's film) is written in the first person, one who has a heightened listening sensation as they are devoid of light and their imminent fate... listening more and hearing less.