Katie Jo Anderson

Artist based in South West Scotland; interested in people, places, materials and collaborative practice.

Month: April, 2014

Residency. Part 5: A Work in Progress

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White speckled stoneware, copper oxide bisque fired to 1000. Press moulded and hand built.

 

After a lot of humming and hawing and uncertainty, a lot of things seemed to ping into place. I became engrossed in the notion of ‘looking’ and of creating an instrument for ‘looking’ more at our surroundings. ‘Looking’ differently, with a slight change of perception. There was also a growing notion of our need to announce our arrival, from planting flags, carrying rocks to join the topmost cairns, taking snaps for later dispersal, to the beacon bonfires of 2012. 

The ambiguity of the horn shape has gotten me a bit hooked. Horns as amplifiers, both for our own noise, and the noise of others.

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Suggestions as to what this might be welcome

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The foundry at SSW

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Copper horn in production. Ceramic shell investment mould.

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White speckled stoneware, copper oxide and copper c___ pre firing Press moulded and hand built.

Text as a means to bridge the ambiguity gap, or indeed to hint towards it became the most ideal mechanism, though my eloquence leaves a lot to be desired. Something of producing objects that will outlive myself (so long as they are not melted down for scrap/remoulding) adds to the pressure of things like text, which feel so final and static as soon as they are written, however done it is, and the text will stand as it is. 

In two halves:

SOUND THE HORN. RING CLEAR.

And then:

LISTEN OUT. TO THE NEXT HILLTOP.

The shape is fairly ideal for playing with acoustics. Rather than portraying an accurate amplifying of the current sound, it distorts, jumbles and disorientates within the built environment at least. The ceramics give a fairly satisfying echo, due to their shape and material. The copper is yet to be tested extensively, as it is also yet to be completely finished.

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I’m now on the hunt for the correct mounting mechanism parts to assemble (including brass munsen rings larger than the ones I’ve got), some birch (cut into flat pieces), a joiner or carpenter, a case for the full apparatus, and some wool to make a felt lining. Every year I promise myself a camping trip to explore Scotland a bit more thoroughly, and now the quest may have to include the testing of the Sound Horns from different locations.

There is a lot to be done.

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Residency. Part 4: Talking Wall

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SSW’s talking wall had been catching my eye the first couple of weeks of the residency (more details available online here) so I jumped at the chance to have a shot, although the language feels a little contrived – it’s that stage in a project where I gibber more than manage any kind of concise or eloquent prose. It may also have been a tad abstract without my horn (more on that to come) but hey.. 

The Creetown project with the Stove, which having just finished up has been rolling about in the back of my mind, quietly informing most of my thinking this time round (more details available on that one here), in particular the notion of bells which I’ve been trying in vain to avoid.