sculptures of instruments

Set-up for concert, Redchurch Street Gallery - 2007

In 2000 SCULPTED SOUND gave its first concert at the Estorick Collection of Modern Italian Art, London.

Music composed for the sculptures embraces contemporary classical, experimental, electronic and improvisation.

Although anyone can play the instruments, musicians and composers play them far more sensitively, seeking out their multiple sonorities through the use of a selection of beaters or double bass bow.

The sculptures comprise a variety of timbres rather than pitch, as in the work of Cage or Varese in the West and Gamelan or Tibetan sacred music in the East.

Historically the sound sculptures have a connection with the city sounds recommended by the Futurist Luigi Russolo in his manifesto The Art of Noises (1913) and with the Fluxus artists of the 1960s.

The sounding sculpture of Harry Bertoia and the unique instruments of Harry Partch have also been an influence as has Derek Shiel’s attendance at workshops given by the British composer, Cornelius Cardew, and his participation in a performance of Cardew’s Treatise.