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Andrew
Kettle
(b.1971,
Boonah,QLD Lat 27*59'S Long
152* 41'E)
is a Brisbane sound artist.
Kettle’s recording
material dates to 1993, with several CD releases, compositional scores,
installations and performances. His work has received extensive radioplay
nationally and through numerous community radio stations around Australia.
His work, heavily influenced by alchemy (training at The
Paracelsus College), is riddled with transmutive processes and experiential
work in the natural world.
Institute of Modern Art (july-august
2003), Small Black Box
(May,2003), Listening
Room (ABC, 2002), 2002AD (Adelaide
Fringe), REV 2002, Liquid Architecture 2001-02, D>Art2001 (sound),
Total Huge
New Music Festival 2001-02 (Sound Spaces), Multimedia
Arts Asia Pacific 1999, 2001, Australian Interactive Multi-media Industry
Awards 1999 (AIMIA), Australian Computer Music Conference
2000,01 and Electrofringe 1999,00,01 have exhibited his work in Sound
Galleries and performances.
He was the presenter/programmer
for “Atmospheric Disturbances”, The Experimental Musicians & Sound Artists
show on Community Radio 4ZZZ fm102.1.
Wednesday Night, 11pm - Midnight, from june 1998 to july 2000 and founder/curator
of "Small Black Box"
(2001-05), a monthly experimental music performance venue in Brisbane.
Igneous
invited Kettle in 2006 to compose a soundtrack and collaborate
at the Residency at The Australian
Choreographic Centre (Oct-Nov), resulting in the creation of the performance,
'Mirage'.
In 2005,
Kettle completed the Tertia class with the Paracelsus
College, Adelaide in January/February of this year.
Kettle's
work 'Sol's Violin' has dominated
2004. Content to concentrate on developing the formulae
further, he is attempting to synthesis Saturn's moon data into its tone
and has spend considerable time on incorporating Verdic astrology systems
into the composition.
A planned deviation back to laboritory work during 2003
incorporated further technical influences blending his artwork and alchemical
procedures together. Having completed the Secunda class with the Paracelsus
College, Adeliade in February/March of this year an aim to advance
a exploration in the conscious sensory continues. Sol’s
Violin Exhibition at the I.M.A. is a completion of one meditation
that has taken three years to complete.
It would seem that for most of 2002 Kettle has been locked up in
his studio as the major production of this year has turned to computer-based
editing and remixing of several tracks and compositions, including his
first ABC commission for The
Listening Room. Small Black
Box received a small grant to develop the space. The exhibitions 'liquid_lounges'
(Melbourne), 'SoundSpaces' (Perth), 'Sound Altars' (Brisbane) & "Variablr
Resistance' (San Francisco) graced this year.
2001 for Kettle, focused on developing the Brisbane New Music scene
with a monthly experimental music performance space, Small
Black Box; completing two soundtracks for Eric Roberts & David Cox/Molly
Hankwitz; and expanding his collaborative projects with The Hutt River
Space Agency (Greg Jenkins/Michael Norris) and a residency with Barry
Schwartz [USA] & Bastiaan Maris [Ger].
For Elektrosonic Interference, Kettle was positioned as Technical/
Artist Assistant to the international artist in residency, Barry Schwartz
and Bastiaan Maris. Over 10 weeks at The Powerhouse, Centre for the live
arts, Brisbane the collaboration with The Arterial Group, The Australian
Voices, Keith Armstrong and Douglas Leonard culminated in three performances
between 6 - 8 September, 2001.
In 2000, Kettle’s hidden senses where strongly enlived by his research
into electro-magnetic radiation as a sound source, creating the ADAPT
2000/ Gratings / Electrofringe 2000 performances, 'Digilogue' and 'With
my left eye closed...' CD releases and sound track to Junia Wulf's animation,
"Gray".
His passion for found sounds and extensive, discordant layering of repetitive
digital snippets lead in 1999 to complete field research into drones
that culminated in the “drone 9” & “The Turing Test” (reviewed
in ‘Real Time’, Dec/Jan.2000) performances at M.A.A.P.99.
Explorations of influencing Poetry with MIDI, " ... I take a sentence
for a poem, sample it, program in to the midi keyboard and play with it
as an instrument... fantastic patterns emerge from repetitively layering
single words or short sentences."
His performance at the Queensland Arts Week (1999), was an digital poetry
exercise with fellow artist, Junia Wulfe & A Short Journey. Digitalising
5 sentence scripts and then using them as a backing vocal texture.
He has presented a Masterclass on “Noise in Composition” for ‘ADAPT’ 1999
, talked at the "Community Radio & Electronic Music" Panel - National
Independant Electronic Labels Conference 2000, "Soundscapes" at 2002AD,
part of the Adelaide Fringe 2002, and appeared at the ElectroFringe Festival
(1999 to 2001) in Newcastle, performed at the AIMIA Awards, assisted the
ACMA 2000 conference ‘Interfaces’ as a member of the steering committe,
performances, and a series of 4 Radio shows.
"My initial exposure to non-music sounds came from listening to the radio
in rural Queensland, as a young boy, the reception was mostly difficult
so I developed a great interest in these broadcast noises, especially
sunspot activity."
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