The 6th edition of the Helicotrema Festival was held in November Venice. CRiSAP were asked to curate a playlist, to which I contributed a text piece that was originally exhibited as part of Daniela Cascella's "Sound Writing 2."
I was also invited to sumbit an additional work for the Festival, having my work played back in dedicated listening sessions alongside some incredible artists.
The sounds that comprise Marshland (Helicotrema Mix) were all recorded on the Dengie Peninsula, an area of tidal mud-flats and salt marshes that lies between the estuaries of the rivers Blackwater and Crouch. Microphones were submerged beneath the rising tide, held above retreating waves, wedged into a decaying wooden watch-tower buffeted by strong winds and lowered through the gun slits of a pill-box, where nesting swifts called to fledglings and flew in and out the Second World War concrete structure’s openings. Though left raw and unprocessed, the sounds have been layered in a series of movements between interiors and exteriors, between what passes over and what happens underneath. This Essex coast once formed part of what archaeologists have named ‘Doggerland,’ a mesolithic land bridge which joined Britain to continental Europe, and the recordings were made during fieldwork for a film project with Chiara Caterina in the weeks before the UK population voted on the referendum to leave the European Union.