Glazed ceramics, motorised turntables, cob, basalt, fermenting tea fungus, microphones and other sensors, live evolving soundscapes. 190cm x 172cm x 250cm.
○ squigoda song cycle ● water~land~air ○ is a complex environment – animated, shifting, and multivalent. It is also the living organ at the centre of the wider exhibition and live programme that I have collated, life bestowing cadaverous sooooooooooooooooooot.
Its earthen surface shrinks and cracks as it dries over time, and houses three slowly revolving ceramic vessels – which also serve as architectural models. A fourth ceramic being hovers overhead: it doubles as a light fitting, and trebles as a set of flutes. ○ squigoda song cycle ● water~land~air ○ is also an experiment in multispecies collaboration. It incorporates a pool of tea fungus which is connected to contact mics, a hydrophone and other sensors. As it slowly ferments, the tea fungus generates changing signals and audio inputs. These inputs feed into and orchestrate three ever-changing live soundscapes, which flow through the three spaces of the exhibition. This becomes a collaboration not only with human sound artist Tommy Perman, but with the tea fungus itself.
Images: Alan Dimmick. Fourth image: @stmc