< forrige
Crys Cole
External link: cryscole.com
Photo: Ujin Matsuo
Crys Cole
Artist (CAN), 1976
 

"Silence and quietness are very powerful as we are constantly surrounded by noise, which we mostly tune out in our daily lives. Presenting silence in sound works gives a pause, a breath… which allows the sounds around the silence to have more presence and weight."


Active listening is a fundamental core of Crys Cole's practice. She is working with improvised performance and sound installation. By drawing out subtle and imperfect sounds through simple purposeful gestures, she aims to concentrate the listeners focus and in turn, reveal the broader sound environment that exists around and within us.

 

Crys Cole has performed extensively throughout Canada, Japan and Europe as well as in Seattle and NYC. She has collaborated with Jeffrey Allport, Oren Ambarchi, Keith Rowe, Christof Kurzmann, Jamie Drouin, Lance Austin Olsen, Mathieu Ruhlmann, Kai Fagashiski, Julie Rousse, Tetuzi Akiyama, Seiji Morimoto, echo ho, Tim Olive, Christine Abdelnour and Clare Cooper amongst others.


3 questions for Cole

 

What opportunities, qualities or restrictions do you think sound has as an artistic material?

 

"I think that sound has a unique way of moving people. The focus that purposeful listening requires can have a very centering effect on the listener and I think that this leads to a very rich experience. Of course tuning people’s ears in to deep listening is a challenge, as we are trained to tune out the noise and sounds around us constantly. Choosing to work within sound-controlled spaces or embracing the existing noise around us when presenting sound works is essential. So of course this presents very unique challenges in contrast to presenting visual works. But I think that when you catch a listener’s ear and engage them with sound it has a very unique impact that can be very rewarding."

 

What does silence represent to you – in general and in regards to your artistic practice?

 

"Silence is an elusive thing… this said, it is integral to my personal practice. That is, I play with the peripheries of silence. I amplify small sounds and gestures, magnifying small undetected sounds and using the almost subconscious qualities of these sounds as a very fundamental element in my work. Silence and quietness are very powerful as we are constantly surrounded by noise, which we mostly tune out in our daily lives. Presenting silence in sound works gives a pause, a breath… which allows the sounds around the silence to have more presence and weight."

 

How do you work with the relation between sound and context in your artistic practice - or with the particular artwork/ composition you are bringing to SPOR 2013?

 

"My solo work, both in installation and in performance, always engages directly with the space that i am creating in. Due to the more delicate nature of my sound palette, the space that I perform in becomes a collaborator in the piece. Responding to the materials that exist in a space, the sound of the room, the din of the crowd, the environmental sounds occurring in and around the space are integral to each piece. Also, at times it is more about the gesture than the space. Choosing to only use my breath for a piece or a simple action like sweeping a space focuses the sound world succinctly on a particular context. I find this method of working very centering and direct, which I really enjoy."

 
> Simon Løffler
> Six Preludes