As far as, and…
As far as, and… is a site responsive, wind-activated sound sculpture located at the southern point of Point Pleasant Park in Kjipuktuk/Halifax, Nova Scotia. Through complex but playful constructions and contraptions, I am working intentionally with the flux and uncertainty of meteorological events to produce unpredictable and intermittent auditory experiences.
The phenomenon of Aeolian vibrations (named for Aeolus, the Greek god of the wind) is the source of the sound: Strings of equal length and varying thicknesses are strung and tuned. When the wind blows, the strings are set into motion, resonating through the three steel bodies, producing mysterious harmonic overtones which float and dissipate into the general soundscape. Each string is secured to two of the bodies, allowing for the vibrations to reverberate through the varied forms simultaneously. Percussive elements are also present in the forms, so in addition to acting as resonating bodies for the strings they will produce rhythmic tones when it rains.
The 3 forms are somewhat whimsical; each presents a sort of thematic visual composition while at the same time, none of them operate as a completely logical representation of anything recognizable. They are simply, and strangely, exactly what they are.
They stand at the edge of the peninsula, at a distance great enough to escape most of the noise of the city, as far away as possible while maintaining firm footing on the land. They are loosely reminiscent, in their posture and position, of the familiar and purposeful placement of a lighthouse (such as the one that can be seen in the distance, on McNabs Island). However, they are certainly not visually similar enough to be seen as such a recognizable Nova Scotian feature. Their other-worldly appearance and open placement is intentionally (perhaps audaciously) visually conspicuous. Like a day beacon, the intention is to capture and draw in the attention of passers-by, bringing them close enough to experience their auditory function.
Our lives are incredibly noisy, and in order to cope with this we tend to (as a means of survival) learn to tune out many of the environmental sounds surrounding us. I’m questioning how we listen, hear, look, and see: specifically the acuity with which we engage in these sensory activities. In this work I am interested in the act of being present, of awareness, the act of looking and listening, and how active presence and awareness can alter our perception of the environments in which we find ourselves, as well as our place in them.
As far as, and… is an exploration, demonstration and experiment. It sits at the edge of two opposing physical realities (land and sea), interacting with and harnessing the wind and rain, producing sound, all of which are elements and products of energy that freely crosses physical boundaries.
Ada Denil is a visual artist working primarily in sculpture and installation. Her practice also includes drawing, printmaking, painting, and animation. Ada grew up on the south shore of Nova Scotia (Mi’kma’ki), and now lives, studies and works both on the shore and in Halifax (Kjipuktuk).
Much of her recent work explores the integration of wind-activated sound-producing components into both rural and urban landscapes. Her installations incorporate some basic principles of instrument design observed in string, woodwind and percussion instruments, as well as a significant amount of whimsical experimentation. She is interested in how sound operates and moves, bridging the divide between one body and another, between each body and the objects and structures that surround us, as well as the similarity between the phenomenon of aeolian vibrations and how human vocal cords produce sound.