Sally Golding combines film projection, lighting and sonic composition to create performances and installations. Golding has developed works where she projects films directly onto her body and harnesses the audience’s reflections, creating live cine-sculptures and interactions. Photographic compositions printed as optical soundtracks and decomposed uprooted vinyl library music, neatly situate Golding’s work at the crossroads of science and superstition, philosophy and pulp. Golding’s projects thread between expanded cinema and media art, curation and audiovisual archiving evolving a practice of ‘hacked cinema’.
Golding curates the expanded cinema and sound art series Unconscious Archives (London), and is co-curator and co-founder of OtherFilm (Australia) dedicated to experimental, expanded and other forms of art.
- Ghost - Loud + Strong (16mm B&W hand processed film, contact printed optical sound from original flexi disc recording & vinyl sound effects, laboratory strobe, oscillator synth; 12mins; 2012)
Sound recordings ripped from a flexi disc containing a dialogue about past life regression, and vinyl library sound effects, were reformatted as optical sound waveforms by recording into a 16mm sound camera and contact printing the resulting waveforms into a ‘darkroom composition’. Sounds surface and regress, male voices ‘authorise’ and female voices ‘characterise’, as an uncannily obscured field of light and dark unfolds on screen. The flickering film frames compel the viewer to hallucinate a non-existent visual subtext complemented by the alternating in/audibility. Indicated in the repetition of the sound sample, ‘To find a memory in the vastness of time…’ G-L+S has also been released on vinyl by the label Psyché Tropes (UK).
- Light At the End of the Tunnel (2 × 16mm hand contact printed optical sound films; Laboratory strobe light, rotating colour filter wheel; 8mins; 2014)
Live lines of dialogue typical of phrases about near death experiences are read over an immediate sensory visual and sonic assault driven by a rotating colour filter and a shifting pulse from a laboratory strobe light. Sampled library horror music re-printed manually onto 16mm film forms a composition, while a hand creeps about the frame over television fuzz filmed on an Iphone and transmitted to back to the television – the media is embodied, haunted.
Spatial (United Kingdom)
Spatial is most often referenced for his “echoes of haunted dancehalls and distant raves in London town..” In late 2008 spatial subverted the UK bass scene by releasing a limited 10” on his newly christened infrasonics imprint. The expansion of dubstep’s horizon with a technoid garage hybrid combined with the minimal aesthetic of the design and information reticence proved compelling in an age of categorisation and communication overload. The release scored an instant Boomkat single of the week and all but sold out inside two weeks. Spatial’s new EP is currently hotly recommended by Bleep. This is Spatial’s latest project interrogating hacked code for excruciating light.
- Primitives (Homemade code; digital projection onto haze & gauze; 20mins; 2013)
Primitives is a performance based opti-sonic installation from Spatial (Matt Spendlove) that uses custom made, home coded software to explore sonic and optical intensity articulated by simple geometric figures and extreme frequencies. Projected images drive a sensory assault, consumed by your eyes, then ears, and existing somewhere between perceptions. In sympathy with the material aspects of live audiovisual art, Spatial’s method of deformation and alteration of coded light brings a new realisation to the relationships between seeing sound and hearing colour. Primitives is released on vinyl and DVD by the Broken20 label (UK).