Test Space
Guy Begbie’s sound works are created from manipulated primary resource field recordings. These include aural interventions and the ambient sounds of specific environments.
There is an open rationale behind the works, treating the manipulation and construction of the collective sounds as an aural collage, using methodologies influenced by visual composition and concerns regarding: juxtaposition, counterpoint, texture and the translation of mark making into sound. The sound works are best listened to through high-fidelity speakers or headphones.
‘Byway Route Hollow Lane’ (GB 2018) ::: is a composite soundscape made with manipulated field recordings from a Welsh walk and the results of aural experiments with a contact microphone… Tramping Downhill… Rocks on a Drum Skin… Barn Cladding Vibration… Deluge Dripping.
‘Floating Ceramics Collide/An Aural Dérive’ (GB 2017) ::: is a sound work constructed from field recordings made in the UK & Australia… Jack Hammers on Brisbane Roads… Contact Microphones on Rocking Rocks… Wrapping Unwrapping… Rolling Ink/Train Ride… Floating Ceramics Collide.
‘Half Full/Half Empty’ (GB 2016) ::: is a sound work made with manipulated recordings of circular friction on wine glass rims, the movement and placement of the glasses and the pouring and transfer of water between vessels.
‘Sink Dish Slap Dish Sink’ (GB 2016) ::: is a sound work constructed from recordings made at the kitchen sink. The source for the manipulated and reconfigured sounds was created by slapping the inside of the metal kitchen sink with a dish cloth, in conjunction with the movement and placement of plates, pans and cutlery.
‘Bin Resonance Bridge’ (GB 2016) ::: is a soundscape made with sampled recordings of the removal and placement of a metal bin lid, spoken monologues and the bending of notes on a clarinet and harmonica. These were all spoken and played inside the bin, which was used as a conduit to carry a more resonant sound.
‘Woodjaw’ (GB 2015) ::: is a sound piece made with reconfigured recordings of a bamboo jaw harp.
‘Sculptchipper Table Piece After Caro’ (GB 2015) ::: is a soundscape made with field recordings of interventions and placements. These have been carried out using books and cast book objects on a wooden table.
‘Sculptural Prototype Paper Book 3D Scan’ (GB Sydney, Australia 2017)
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