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a rested development (2021)

a rested development is a collaborative sound and moving image work with Eeva Siivonen that used chance as a process to develop a sequence of autonomous elements that intersect and diverge in their unfoldings. This method allowed for coincidental alignments and collisions between images and sounds. The result is a constellation of images that expand and contract within the undulations and oscillations of sound. Eeva (moving image) and I (sound) developed our media independently. We used a simple analog chance process to assemble our different media into a video. The results are a magical intersection of sound and image.

a rested development was presented in -AND- the second iteration of Christof Migone’s 12-12-12, an annual on-line performative series that takes place from noon to midnight.

The CD project is an extension of the performative series; the sound track for the moving image was was divided into six discrete tracks of sound.

stilllife (2024)

stilllife is a 3-channel sound installation with ecological and poetic references. Material and organic elements are organized into techno-organic composites that suggest instruments yet are mute. Audible sound, produced from experimental actions with the material composites, is output as recorded sound through digital soundboards to separate nodes of sound. The evolving composition suggests language, entrainment, or sonic materiality. Possibility and renewal are performed through invention, play, and adaptability.

Interlude (2023)

Interlude is a 4-channel sound installation that uses field recordings from SW Ontario to construct an evolving composition, modified in real-time by software and by the dynamic relations of sound and space. As a site, the foyer connects the street and the gallery: events in the street bleed into the entryway; sound from the installation expands into the adjacent gallery and throughout the building. The listener hears the mix of live and recorded sound of inside and outside as the fluctuation of sound in time and space. In 20/50 Anniversary Exhibition, PAVED ARTS, Saskatoon.

beginning again (2020)

beginning again is a repetitive performative action of volleying a balloon into space. Dull thuds of gloved hands against the balloon’s skin and footsteps of the performer occur again and again and again. The performer initiates but does not control the trajectory or speed of the balloon’s arc which is affected by its own resistance and the room’s  air currents. Stein’s notion of time as a continuous present is of “more and more of everything, beginning and beginning and beginning.”[1] Time is the present, the now, not a continuum of the past-present-future. The present is repetition: the sense of difference lies with the perceiver. ArtLab Digital Features, Visual Art Department, Western University.

[1] Gertrude Stein, “Composition as Explanation” (Poetry Foundation, Chicago) https://www.poetryfoundation.org/articles/69481/composition-as-explanation.

when the crickets hesitate (2021)

Speakers, organic matter, and signal cable cover the gallery floor evoking our techno-organic natureculture. An evolving soundscape of field recordings from land, air, and water in SW Ontario mixes sense and nonsense of human and nonhuman sound – bugs and birds, motors, wind, thunder, and waves – processed to distort their identity. The sonic becomings present an uncertain ecology of fluctuating forces and affect. The listener is immersed in a sonic space that is familiar and unfamiliar, located and dislocating. Sound intermingles with the moving images of Eeva Siivonen’s video in a sensorial environment of ambiguous presence and absence. In Written on the Earth, McIntosh Gallery, London, ON.

when the crickets hesitate, 2021

A Little Piece of String (2018)

Inspired by Gertrude Stein’s 1914 literary text, Tender Buttons, which performs everyday objects to shift the stability of form and meaning, my approach is sonic: signal is transferred to everyday materials and objects to produce kinetic-sonic actions and interactions with recurrence. A multi-channel sound installation unfolds as an evolving composition of spatialized sound using a serial algorithm for signal generation, pick-up mics for amplification, and delay as output. Transforming the same into difference guides the listener through the space of the gallery. Solo Exhibition, Remai Modern, Saskatoon.

A Little Piece of String, 2018

<Listen 1> Installation

<Listen 2> Performance Improvisation with Jeff Morton

In Conversation: https://remaimodern.org/field/read/a-little-piece-of-string-ellen-moffat-in-conversation-with-troy-gronsdahl

This work included a Web commission by the Remai Modern in 2017. (See PERFORMANCE: Material Signals)

becoming again beginning undone (2021)

Small sounds, image, text, rhythms, and tonalities bleed into and mix with each other, transgressing the borders of space and containment. A techno-organic sound installation of matter and found materials is transcribed into an evolving notation of sound objects and text. Video animations mix and remix the language of sound in fleeting text-images of sense and non-sense. A bench-platform augments the physical sensation of sound. The sonic sensibility of becoming, beginning, undoing, and redoing connects the listener to sounds of difference and to language as a new symbolic space of subjective, objective, and collective relations. Sound, text, the senses, and cognition perform their becomings and beginnings, undone again.

Sound Installation & details: becoming again beginning undone
Projection & Sound Bench: becoming again beginning undone

Walk-through: BecomingAgainBeginningUndone.mp4 from Ellen Moffat on Vimeo.

Video still
Video still

Triptych Text Animation: https://vimeo.com/580955608

<LISTEN>


Sounding Bodies | Body Soundings (2019)

A collaboration with Helen Pridmore: With mutual interests in sound, resonance, and the body in the world, Helen and I explore and experiment with human sound and acoustic materiality through structured improvisation for a collaborative performance using indeterminacy and improvisation as our process. Our performance occurs in separate locations: my sound and actions are transmitted to the space where Helen is performing, allowing her to see and hear me. I have no access to her sound. The post-performance version of the work presents an installation-instrument that invites interaction. The project was developed during a residency at PAVED Arts, Saskatoon, in 2019.

MoffatPridmoreCollabPerf from Ellen Moffat on Vimeo.

Performance: SoundingBodies|BodySoundings, Saskatoon

Texturings (2017)

A collaborative performance of sound and moving image with Eeva Siivonen, grounded in experimentation and exploration. Video projections of the natural micro-environment extend over the gallery walls, floor and ceiling creating a tactile and layered yet ambiguous impression of an undefined, nameless space. Sound is generated using materials, digital signal and actions resulting in tonal and percussive textures. Together, sound and image create an embodied, primordial, intimate and sensorial environment of natural and constructed elements and affect as presence, absence, transience, spatial and social relations.

Performance Detail, Forest City Gallery, London

Small Sonorities: Material Signals (2017)

Objects perform in response to low frequency signal, their actions suggesting forces and noise of the everyday as a form of little theatre or anarchic Dadaist performance. Digital signal is transferred indirectly to objects via physical interfaces and vibra-tactile transducers, functioning as a trigger that causes sonic-kinetic events. The project was a web commission by the Remai Modern.