AMMA ATERIA on rytmejä rakennustyömailta, liikenteen melua, kuulumattomia keskusteluja, läheltä ohittavia lentokoneita. AMMA ATERIA on taiteilija Jeanie-Aprille Tang.
Titanik-galleriassa avautuvassa AMMA ATERIA -näyttelyssä esillä on kaksi teosta, jotka tutkivat ajan, äänen ja tilan kokemista henkilökohtaisella tasolla. Tangin ääniteoksissa polaariset vastakohdat, synteettinen ja luonnollinen maailma, esiintyvät läpinäkyvissä materiaaleissa kuten lasi ja vesi. Tang tutkii, kuinka äänen lineaarinen ajallisuus ilmenee kaksiuloitteisessa tilassa
Jeanie-Aprille Tang (HK) on opiskellut Mills college of liberals arts -taidekoulussa Oaklandissa, Californiassa. San Fransicossa asuva Tang on aikaisemmin työskennellyt niin elokuvien, teatterin ja pelien äänimaailman kanssa. Hän viipyy Titanik A.i.R. -residenssiohjelman vieraana Turussa huhtikuun loppuun saakka.
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[AMMA ATERIA] is Jeanie-Aprille Tang, an audiovisual artist + electroacoustic composer/improviser based in San Francisco, CA. Born in Hong Kong, she gravitates to rhythms of construction sites, roaming traffic, inaudible conversations, and close-ranged airplanes. Natural and synthetic worlds are the polar opposites in her sonic practice. Her practice in sound consists of cross-modal synesthetic influences from the contemporary moment, as well as synopsis and identity assignments from geometric perspectives. With focus in the acoustic abilities of transparent materials such as glass and water, she takes concern with the density and optical condition of plexiglass and its relationship to the correlation and causation of light value as trigger. Jeanie- Aprille studied at Mills College with focus in music composition, electronic music, hardware instruments, and audio engineering. Her interests are slow-wave, new colour, irregular heartbeats, and sonic circuitry.
I. Affine, 2013
breaking glass, lighter, water-drops, slamming doors, traffic, 6-channel audio, three stereo pairs in crossed parallel, 6 speakers, 1 subwoofer, multichannel interface, Character reference: Flatland: A Romance of Many Dimensions, Edwin A. Abbott, 1884.
II. Thin Film, 2014
plexiglass 160 x 51 x .05 cm, 6500K bulb 70W, complete loudspeaker,3 photo resistors, Arduino UNO, external audio through integrated circuit
The notion of common behaviour changes with conditions of spatial restraint, breathing is slow in the 2nd dimension. In forms of thin lines, their bodies appears as sharp points. The 1884 cohort of women slithered and stilted through thin separate doorways. This is life in the affine plane.
Affine geometry is the study of parallel lines. The relation of parallelism may be adapted so as to be an equivalence relationship.
Given the endless collection of imaginable shapes, objects, however, optically appear merely as lines in the 2nd dimension. In favor of personal preference in perception. In slits withdrawn from taller full forms, or compressed with pressure into flat forms.
Constantly running. What happens as the linear time of sound adapts to the behavior of shapes in a two dimensional space? In slices of time, ’Thin Film’ reveals the coexistence and duality of linear sound divided by the absence of light, and the urgency to break from accumulated invisibility.
