Updated: Feb 26
Drawing with wind and water, original track 4mins, slowed to 8 mins.
Listen to the audio here: https://static.wixstatic.com/mp3/d4db6f_f905c5537a374b8f8e851df306cf26d7.mp3
1 x drawing, ink of paper 420 x 594mm
Updated: Feb 26
I slowed down the recording of a blizzard in Greenland from 5mins to 25mins and drew with ink on paper, the marks are an attempt at capturing the sounds and at some points interpreting them. At times I was drawing with the snowstorm, it was performative.
Listen to the sound here: https://static.wixstatic.com/mp3/d4db6f_65a2546f4b31418a8abfd4e666bbe8a4.mp3
The listening practice went like this:
Listen to the recording at full speed
Listen to the recording at an extremely low speed x2
Decide on a material/method that would best represent that sound
Listen to the recording and respond interpret the sound
2 x drawings, both ink of paper 420 x 594mm, photos here are of the two works and close up on details
I've been listening to the weather. Using recordings I have made, at the moment it's of a snowstorm and snow blizzards on the BBC sound effects website, I listen to the qualities of the sounds. I find slowing down the sound clip so it's double its length an opportunity to listen more deeply, it helps me to connect to the sound and feel of the sounds.
Sitting in my house listening to a snow blizzard in Greenland is a kind of time travel.
How do the qualities of weather relate to sensations and feelings?
What is the sonic energy of the sounds?
I am setting up some responsive drawing exercises to listen and draw to the weather. More on this later.