Free Jazz III. Sound. Walks.
Singapore’s Dragon Kiln is one of the few remaining brick-built kilns in Asia. When there is no firing, it is left empty and unused. seah’s aim is to investigate the materiality of clay by re-purposing the dragon kiln as a sound recording space, revisiting the historical site and exploring its acoustics by activating the space with vocal experimentation. With the human voice as its main focus, this project embeds vocal emotional expressions of the prosodic features of speech, as well as vocalisations with no linguistic content – hums, sobs, laughter, wailing, and gibbering. With the involvement of the migrant worker community, which has been restricted the most during the pandemic, the kiln no longer feels hollow, being filled instead with a spirit of collectivism. Thespectral and uncanny qualities of place are amplified through voice and sound manipulation of fired clay objects.
anGie seah’s (Singapore) multidisciplinary practice traverses the mediums of drawing, sculpture, performance art, installation, sound and video. Seah allows spontaneity and intuition to navigate a range of shifting emotional resonances and psychological states. Experimenting with articulations of spoken language, she searches for authentic expression and primal beauty. For more than a decade, she has been working with diverse communities on participatory projects. Since 1997 anGie has exhibited widely including at ZKM Centre for New Media, Germany; Fukuoka Asian Art Museum, Japan; and the Palais de Tokyo, France; as well as at NTU CCA Singapore and the Singapore Biennale.
Image: anGie seah, Empathic Voices, 2021, sound. Commissioned by NTU CCA Singapore for Free Jazz III. Sound. Walks. Courtesy the artist.