Infinite Music Machine: Westspace

Liquid Architecture 10
Alan Lamb | Rosalind Hall | Dale Gorfinkel | Peter Blamey | John Grzinich
11.07.09 – 25.07.09

Opening performance: Saturday 11 July 3 – 5pm

Infinite Music Machine
Alan Lamb | Rosalind Hall | Dale Gorfinkel | Peter Blamey

The collaboration of Alan Lamb, Rosalind Hall, Dale Gorfinkel and Peter Blamey brings together four artists who are exploring experimental approaches to sound through instrument building and installations.

Expect a wondrous world of automated contraptions, supermagnets, long wires, ping pong balls, multi-speaker sculptures, cellular automata and electronics. They will be creating an exhibition of constantly transforming kinetic sculptures that explore the chaotic interplay between sound, light, air, water and electricity.

Performances: ($10 donation)
Saturday 11 July 3-5pm
Thursday 16 July, 7.30pm
Saturday 25 July, 7.30pm

Sunday 19 July, 3pm

Alan Lamb’s (WA) work involves the exploration of sound structures, neither musically ‘designed’ nor of random occurrence. Such structures possess the properties of beauty, complexity and evocation of the emotional, the spiritual and the imaginary.
Dale Gorfinkel (VIC) builds automated mechanical sculptures based on his unique approach to the vibraphone. He creates wondrous sonorities using motors, aluminum bars, swinging tin resonators, ping pong balls and trumpets that play themselves.
Rosalind Hall (VIC) is developing a unique sonic language by making modifications to the saxophone. Rosalind has also been working on speaker sculptures which use vibrational feedback to create sound and movement.
Peter Blamey (NSW) is an artist who has been working with simple electronic feedback systems in both performance and installation for quite a while now, and looks like continuing to do so for the foreseeable future.

Gallery 3
John Grzinich
Location Sound Films

The Location Sound Films project starts with the concept of site-specific artistic activity while integrating contemporary sound recording practices that cross the areas of performance, field recording, improvisation and documentation. With the site being the prime focus, the artist as actor and instigator uses the means of sound to investigate the qualities of a specific context and his or her place in it. Various techniques are used to make recordings, some more clearly visible than others, depending on the type of sound captured (stereo condenser microphones or contact microphones). For this installation, a selection of my films has been edited as a multi-screen, multi-channel environment that plays on random, creating a continually shifting chance composition.
As a mixed-media artist, John Grzinich has worked primarily with sound composition, performance and installation since the early 1990s with a focus on site-specific and acoustic sound activity. He is a program and media lab coordinator for MoKS - Center for Art and Social Practice, an international artist residency centre and project space in south east Estonia

Wednesday to Friday 12-6pm, Saturday 12-5pm
West Space

1st Floor, 15-19 Anthony Street

Melbourne Vic 3000, Australia

ph 03 9328 8712