Notes on Sound Joel Cathcart
There are two sounds presented as part of this exhibition. Firstly, a highly distilled pulsing sound which emanates from the central sculpture. This pure tone was sourced from the vibrations of a large glass bowl. Secondly, a field recording made in the gallery gardens, combining the rustling of the shrubbery with the steady drone of the motorway. Both sounds are intended to operate on the threshold of aural perception. Lengthy silences heighten the sense of austerity, and suppress the immediate awareness of sonic artifice. The potential overlap between installed and native environmental sounds also serves to challenge the conventional dichotomy between indoor and outdoor spaces. I regard these refined and contemplative sounds as appropriate companions to the luminous precision of Barbara Freeman’s visual work.
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