Soundscape Player
For the first edition of Sound of Vision, four musical pieces by Kev Sheridan were created as specific reactions to each artist’s work. Each reaction was heard from speakers placed beside the corresponding artworks.
As they played simultaneously, the four musical pieces created a collective soundscape in the gallery space.
The player below recreates that experience.
Instructions
Play and adjust the volume of the sounds to create your own mix. Two or more can be played together (in any combination). Click on images to expand.
Headphones recommended
Volume slider not supported on iPhone
Musical Approaches
David Hedderman
Paintings from left to right:
We change #17, When the lights go out, We change #20
Due to the multitude of figures in the works, a hubbub of human activity provides underlying texture over which sporadic synth lines of colour appear, panning from side to side. Continuing the human theme, deep rumbles are created using stretched out voice hums, pitched down 2 octaves.
Orfhlaith Egan
Paintings from left to right:
Red Sunset, Fading Light, Verdegris
Atmospheric synth chords mirror the ambient soothing nature of the pieces, as well as the warmth of Red Sunset and the vast, epic Verdigris. Gentle lapping waves ebbing and flowing complement the bodies of water. This also speaks to the permanence of nature as a grounding force against the ebb and flow of everyday life.
Christopher Colm Morrin
Paintings from left to right:
Decency, Brink, Untitled
Two block chords played on guitar represents the bold, solid statements of the outer pieces, Decency and Untitled. The texture of the jute is mirrored by rubbing the skins of bongo drums with the hands. A bending synth note pans from left to right bridging the pieces together, representing the arched motif in Brink.
Eileen O’Sullivan
Paintings from left to right:
Untitled 1&2, Tune In To Play, A Space To Make
Pure play was the focus here, with a glockenspiel being played randomly as a baby or toddler might. Free-flowing drum kit rolls, using both mallets and brushes, are played in a similar state of play in response to the bright, solid colours and marks of Untitled 1 & 2. At times you can hear the 4/4 thump of a distant nightclub, as A Space to Make reminds me of the old Griessmühle club in Berlin.