dedicated to art that is curious of ear

A R T I S T - I N - R E S I D E N C E   P R O G R A M M E 
Our Artist-in-Residence programme began in August 2010. We have two strands to our programme - an online residency, and a physical residency at the SoundFjord space:

Online Residency: Each online residency lasts for three months. This residency is purely digital. It takes place in a conceptual place: it being an online presence and a physical absence. Although artists do not receive a physical space to show their work, during the residency, they will receive guidance and support from the SoundFjord team as well as assistance with any technical issues they may have. They will have critical feedback on their practice and the concepts and processes they are working with, and will have meetings with the directors throughout the tenure of the residency. Artists will have online access to colleagues and artists working with the gallery, some of whom may mentor the resident artists.

On a physical level, all artists in residency may attend any SoundFjord event free of change during the tenure of their residency, and are actively encouraged to take part in our regular SoundShares - sonic socials/networking events for artists to meet and talk in an informal setting.

At the end of the residency, works created during this 3-month period may be exhibited at our online gallery, or in the physical space of the gallery, in addition to our programmed exhibitions.

Physical Residency: Each residency lasts between one week - one month. Artists receive a physical space to create their work and to conduct research, during the residency. They also receive guidance and support from the SoundFjord team as well as assistance with any technical issues they may have. As with those who take part on the Online residency, they will have critical feedback on their practice and the concepts and processes they are working with, and will have meetings with the directors throughout the tenure of the residency. Artists will have access to colleagues and artists working with the gallery, some of whom may mentor the resident artists.

All artists in residency may attend any SoundFjord event free of change during the tenure of their residency, and are actively encouraged to take part in our regular SoundShares - sonic socials/networking events for artists to meet and talk in an informal setting.

At the end of the residency, works created during there stay may be exhibited at the gallery, in addition to our programmed exhibitions.

C U R R E N T   R E S I D E N C I E S


Our residency programme is taking a little break. Contact the gallery for further information on the residency programme and associated events.

P A S T   R E S I D E N C I E S


Sequence Series: Turn Move Change

Dan Scott | On the Sonority of Clay
Physical Residency: 28 Jan - 03 Feb 2013 | Film Screening*: Thursday 31 Jan 2013 | Free to attend (please RSVP) | Open day: Sunday 03 Feb, 3-6pm | Free | Open to all | RSVP

Read about Dan's residency on his blog at: | view images of his open day here.

On the sonority of clay. 

In a 1969 edition of IEEE Journal, Richard G. Woodbridge III proposed that clay pots contain the traces of soundwaves. He claimed that these were left as imprints on the surface, which could be made audible using suitable technology. 

In collaboration with a potter, and various experimental musicians, Dan will use Woodbridge’s claim to interrogate the sonority of animate and inanimate objects and the ways of listening suggested by sedimented, inaudible audio.

Dan will also curate related film matter for screening during his residency. Contact the gallery for details*.

Sequence Series: Turn Move Change | Jeremy Young (szilárd, Sontag Shogun) with Daniel Merrill (Dead Rat Orchestra) and Austin Milne (Pop Winds) | Able and Chronicled Sportsman (Poem in 4 Vocal Iterations)

Physical Residency: 21-27 January 2013 | Open Day: Sun 27 Jan 2013, 3-6pm | RSVP

Jeremy Young: "a tiny church on the west coast of Iceland" (built 1788). Used with permission.

Jeremy Young will be working in collaboration with Daniel Merrill and Austin Milne to compose and construct a sound-poetry opus for tape-manipulated voice, group humming, treated violin, oscillators, sand, slate, boiling water, brick and amplified found earth. This text, a new piece inspired by the sport of jousting, will be read in four different interpretations incorporating performative direction, improvisation, repetition and reversals. The full piece is the piece performed four times, which serves to divert meaning away from the linguistic values of the words themselves in favour of the performative aspect of language in its embodied holistic form, as all works of sound-poetry attempt to do. This residency is a starting point, a chance for Jeremy to workshop the piece as a performance, and to gather research, content, feedback and formulae for an eventual published edition. 

Jeremy Young is from Brooklyn, NY. He runs Palaver Music and records under the name szilárdas well as playing with Sontag Shogun and the now defunct group [the] slowest runner [in all the world].

Daniel Merrill is based in London and plays with the Dead Rat Orchestra and Sons of Joy, while curating The Sinful Supper experimental music series at the Victoria Pub in East London.

Austin Milne is a wayfaring Canadian breath machine.


Jeremy Young (US)  - Palaver Music
Daniel Merrill (UK)  - Dead Rat Orchestra

Austin Milne (CAN) - Pop Winds

Sequence Series: Turn Move Change | Theo Burt & Tim Wright

Physical Residency: 10 Dec - 16 Dec 2012 | Open to Public: Thurs-Sun, 2-5pm; LIVE PERFORMANCES: Sat 15 Dec 4:30pm; Sun 16 Dec 4:30pm | RSVP

Follow Tim and Theo's blog online, here.

View photos of the Saturday performance here; and the Sunday performance here.

Theo Burt: performance still; Tim Wright: performance still. Used with permission. 

Bastard Structures 2 is a new work by Theo Burt and Tim Wright. Digital sound linked with geometry and intense strobe effects are projected over two walls in the corner of a room. This system is used as a platform to explore optical and sonic effects, cognitive processes and the limits of perception. Temporal, sonic and visual structures interact with each other and the geometry of the room – a disorientating exploration of the materiality of sound and light. Bastard Structures 2 is not a single work, but rather a system or medium currently being explored by the artists. The system has been in development for over a year during which two public performances have been given.

During their residency at SoundFjord Burt and Wright will experimentally develop a new set of works using the system. Over this time, visitors will be welcome to come and see the works in progress. Towards the end of the week a public performance of the new works will be given in SoundFjord itself. Please be aware that the experience is an intense one, both sonically and visually, and is not recommended for anyone sensitive to flashing lights. | Tim Wright -

Poster design: Allon Kaye | Entr'acte.


Sequence Series: Turn Move Change | Jonas Gustafsson

Physical Residency: 03 Dec - 08 Dec 2012 | Open to Public: Thurs-Fri, 4-6pm; Closing Celebrations: Sat, 6-9pm | RSVP

Jonas Gustafsson: portrait by Pavel Legonkov. Used with permission of the artist.

Images from Jonas' open day and immersive installation are available here.

The idea behind this research project grew out of an interest in the decomposition process of a variety of different materials such as seaweed and rice paper, and the sounds they produce during this process. As part of an ongoing investigation of the behaviour - as well as the physical and sonic properties - of certain materials, Jonas intends to amplify the brittle sounds made as the materials disintegrate as the week goes on, and document this process through sound recording, film and photography. The aim for him is to create an environment – both sonic and visual – that is constantly changing; as the physical shape of these objects and materials alter his response and treatment of them will change too. This in turn will determine how he takes his experimentation further. The fragility of materials such as the aforementioned is interesting in relation to “deep listening” and is also noteworthy from a performative aspect, especially with regards to what may constitute “music”, and what may be called a “musical instrument” – all areas Gustafsson is continuously exploring through his practice.

Email the gallery for further information on the artist.

Sequence Series: Turn Move Change | Joe Cantrell

Physical Residency: 26 Nov - 02 Dec 2012 | Open to Public: Thurs-Sat, 4-6pm | LIVE PERFORMANCE at 4:30pm on Saturday 01 Dec |  RSVP

Joe Cantrell: portrait. Used with permission of the artist. 

Images from Joe's open day and performance during his residency are available here.

The piece Joe will work on during the residency is a reactive system that allows the presence of bodies within a performance space to affect and alter the states of obsolete digital sound equipment and thus generate a reactive, co-constructed sound environment in which technological cast-offs are entangled with human corporeality.

The system will consist of two basic elements. The first component is a sound generating system composed of obsolete digital multi-effects units. The outputs of these units are routed directly back into their inputs, creating infinite feedback loops which have a split stereo line out to make them audible. Left to their own devices, such feedback loops quickly devolve into a steady static state. Because these devices are MIDI enabled however, the internal systems of the audio processing technology can be perturbed and driven into different conditions, resulting in a sort of controlled chaotic state.

Changes in this quasi-chaos will be activated by the interference between radio waves and the presence of human bodies in the vicinity of the reactive sound system. This will be accomplished by distributing a grid of AM transmission antennas on the floor of the performance space that have a control signal broadcast through them.

When persons in the performance space move over the transmission wires, their bodies will act as antennas and affect the combination of amplitudes broadcasted on the AM band. The fluctuations in these broadcast signals will then be used to determine the state changes in the feedback system. In this way, an environment will be enacted in which humans and their technological waste will co-create a reciprocal generative aural space.

Sequence Series: Turn Move Change | Eliza Swann

Physical Residency: 19 - 25 Nov 2012 | Closed to Public (A screening is to be scheduled in 2013)

Eliza Swann: video stills, The Vanishing (2012). Used with permission.

This year Eliza undertook a training course in Ericksonian Hypnosis techniques to begin work on a sound installation entitled "Pineal Paradise". The subjects in the recordings are asked to describe their interpretations of an Earthly Paradise during a hypnosis session. The process or performance in the act of making and installing the audio aims to create a temporary social structure for engaging in creative cognitive acts through shared practices of art and hypnosis.

Popular culture is awash with images and narratives of the apocalypse in various forms. From Y2K to 2012, our culture has participated in a fundamental shift from utopianism to dystopianism; from an optimistic faith in humanity and the values of progress, reason, science and technology towards a darkly pessimistic view that deeply distrusts humanity and these values, and instead sees the near future in terms of social disintegration, environmental degradation, war and ultimate catastrophe.

"Pineal Paradise" seeks to understand this phenomenon and to shift the emphasis away from fear and despair concerning the future of our planet, and explore ideas for sustaining and optimizing life on Earth. In ancient times and in traditional cultures, trance inducing activities such as dance and drumming have functioned as the means by which people have gathered and unified themselves in order to confront the challenges of their existence - clinical hypnosis can function on much the same way.

* * *

Sequence Series: Turn Move Change | Iris Garrelfs

Physical Residency: 12 - 18 November 2012 | Open to Public: Thursday-Saturday, 4-6pm; Open day (with the first mince pies of the season): Sunday, 3-6pm | RSVP

Iris Garrelfs: performance stills. Used with permission.

Iris will write a blog to coincide with her residency. Read it here.

Images from Iris's open day and performance during her residency are available here.

Traces in/of/with sound is part of my AHRC funded PhD research into the creative process in sound art and a series of research periods investigating the relationship between drawings and sound. The initial idea for Traces in/of/with sound lives somewhat in the land of visual music and my interest in the influence that the relationship between sound and image has on the music that is produced.

In the liner notes to Folio and 4 Systems Earle Brown (2006) talks about the connection of still images made active and temporal through movement of the eye along them and earlier in the 20th century Paul Klee transferred this principle into much of his paintings. In this vein I have been looking towards motion as one connecting device, a principle also outlined by Niall Moody (2009).

The National Film Board of Canada documentary The animator as musician: documentary, part of Norman McLaren, The Master’s Edition (Barbeau, 2005), talks about the work of one of the early exponents of visual music, in which I found the above stills. They reminded me of some of my drawings, and I found the connection with music established by Norman McLaren intriguing (Like Browne, McLaren used graphic materials to explain musical forms). Furthermore, in his book Lines: A Brief History, Tim Ingold (2007) draws attention to archetypal origins of such engagements with lines. This very much chimed with my interest in creating in a synthesis between raw humanity if you will and technology, usually expressed in my live voice / processing work. These two inspirations provided the initial impetus for the work: line drawings and improvised voice.

Initially I have been working with a film of fixed drawings and voice, and to date there have been three periods of engagement, each moving on and developing the project, and resulting in a live performance of Traces in/of/with sound. Each of these live performance in turn engendered a film, and documentation is available below. In addition to notions of movement, other research ideas concern conceptual matters, such as frames in sight and sound, and with it related experiential aspects such as multi-screen-speaker connections, but also notions of size across the senses.

Sequence Series: Turn Move Change | Roberto Mozzachiodi

Physical Residency: 05 - 11 November 2012 | Open to Public: Monday to Friday, 4-6pm; Saturday 11:30-4pm | RSVP

Roberto Mozzachiodi: performance still, Radeq radio, SoundFjord (2012). Used with permission.

Images from Roberto's open studio during his residency are available here.

Roberto speaks of his research: "The primary concern of my research will be to look at how collectives, communities, localities and spatially united groups experience, produce and exercise sound. In particular I will look at how the existence, reproduction and politicisation of collectives can be understood sonically. I will be concentrating on large scale everyday vocal/sound acts such as the chant, the cheer, the song, the applause, the scream, the prayer etc. where sound operates as a real binding force articulating the spatial boundaries of the group. I would like to investigate the functional disjunctures between these distinct social practices and locate the degrees of openness/closure which they observe to their outside or the other. Chiefly this area of research will be aiming to learn from and understand the limits of those everyday sound practices which contribute to the formation of collectivities so as to offer foundations for a potential sound practice which collectivises while simultaneously inviting the other in; a hospitable sound.

During this period of practice-led research I will be devising ways in which to draw dialogues between distinct collective vocal/sound practices by exploring the artistic potentials of spatial separations and openings between sounds. I will be experimenting with audio technologies, contrasting the qualities and limitations of megaphone speaker systems when brought into sonic relation with the sensory experience of binaural recordings heard through head phone systems.

At the same time I will be looking at ways in which physically separated sounds, in particular those sounds which articulate the exclusive belongingness of group membership, might be brought into relation. By physically and sonically exposing the political thresholds and exclusiveness of various collective sound practices to each other, the possibility of a transcendent third ear which is able to bridge the gap between closed communities should in this context be able to emerge."

Lumpen, Roberto's experimental music:

Mem1 (Mark and Laura Cetilia) | Visiting Hours II

Physical Residency: 09 - 20 January 2012 | Visit by appointment only | RSVP

SoundFjord opening hours | week beginning 6th Feb:
Wednesday: noon-5pm; Thursday-Saturday: noon-6pm

Visiting Hours II is a site-specific audiovisual installation that will be created by Mark and Laura Cetilia for SoundFjord during their residency in January 2012. The piece will document Mark and Laura's experience of visiting the gallery and the borough of Haringey where the gallery resides. Mem1 will make use of location recordings, captured radio spectra and recordings made in the space with their musical instruments (cello, voice, and analogue electronics, as well as custom software/hardware that allow for real-time manipulation of these sound sources), along with locally recorded video that will be subtly manipulated during playback in reaction to the soundscape Mem1 will seamlessly construct.

Visiting Hours II is the second work in a series that began as part of the Laptopia #5 exhibition at the Museums of Bat Yam (Israel) in 2009. Since 2003, Mark and Laura have collaborated on numerous performances and fixed media works in their electro-acoustic ensemble Mem1. Their process generally involves a number of improvisational sessions in which they find new techniques that they can then weave into a loose narrative structure. The duo then create unique interpretations of this narrative each time a given piece is performed. In Visiting Hours II, Mem1 will challenge this methodology by each alternating solo recording sessions in the exhibition space and gathering sound and video recordings of the immediate vicinity over the course of the residency. This process will ultimately lead to the creation of a densely layered audio-visual composition that explores Mem1's understanding of the environment they have experienced during their residency at SoundFjord.

Complimentary to the exhibition will be a live performance by Mem1 and special guest Attila Faravelli and Daniel Thomas Freeman at Cafe Oto on MONDAY 16 January 2012. For further information click here; and for ticket sales, click here.

Come join Mem1 and SoundFjord for a drop of wine at the opening of the AV work on the evening of 21st January 2011, 5-7pm. All are welcome. RSVP.

For press release: Mem1 | Visiting Hours II

For further information on the artists please visit:


December 2011 (Short Residency): We are pleased to announce Patrick Farmer as our third A-i-R. On this occasion Patrick will be residence at the SoundFjord studio from 07-20 December 2011. We look forward to welcoming Patrick! Further info on Patrick's practice:

March to August 2011 (Double Online Residency): We are pleased to announce Adam Asnan as our second A-i-R. This residency will allow Adam a momentary departure from the formal acousmatic composition that has occupied his efforts to date:

Approximately three years ago, a friend of mine bought some 3" spools of audio tape from a car boot sale for £2. Written on the boxes are very neat tables listing the activities recorded thereon; 'Nevern lift noise, Sleigh and village street, 12PM clock striking and peeling, Firing in the mountains..' and the material is no less remarkable.

The unknown recordist (although we hear his voice at various points) demonstrates a fascinating receptivity to his aural environment, choosing to isolate specific sounds rather than capture everything - whether intended to accompany a film, or serve as an autonomous document for acousmatic listening, we can only speculate.

However, regardless of the motives involved, a notable resemblance to early Musique Concrète struck me immediately; the combination of dynamics and textures, abrupt stops, starts and technological artifacts produce engaging, but perhaps, unintentional musical collages, enjoyed as easily (if not more) for their abstract qualities as for their anecdotal - Adam Asnan, March 2011.

Adam intends to piece together a contemporary commentary accounting for why these items of rediscovered audio are so valuable, from the points of audition concerning both the casual and experienced listener alike.


August to October 2010 (Online Residency): We are pleased to announce Song-Ming Ang as our first resident artist. During his residency, Song-Ming will research and prepare for his latest project, You and I. His works will be made available to peruse online during his exhibition, of the same name, at SoundFjord from 13 October to 27 November 2010.

Please check back periodically for further information about this initiative. Our following A-i-R will take commence in October 2011. 

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