the beguiling, chameleonic saxophone has possessed rosalind hall for most of her life. as she has grown, she has made it her mission to extricate the horn from her trainings, to unearth the inner vibrations of the saxophone body and to elicit from it the sonic microcosms of her mind.
she has made reeds from different materials and found extensions and objects for the bell that alter and extend the playing techniques, creating precarious vibrations that necessitate playing and responding in the moment. improvisation is the guiding force behind her music, experimentation and redefinition a driving goal and collaboration with people and spaces a transcendental joy.
rosalind’s current solo performance work explores how a space can form an extension to a body, her limbs and saxophone evaporate from consciousness as the music she plays transforms the environment and exposes inner worlds. using multiple microphones on her horn and throat to amplify her nervous pulse and labouring breath, as well as speakers, volume pedals and equalisation to form undulating feedback, rosalind is attempting to create a shared experience of the transparency and dependency between body, instrument and presence.
alice hui-sheng chang’s work focuses solely on developing extended vocal technique as a means for improvisation and communication. her vocal explorations include sound from varying tension of physical vocal parts, driving air into alternative passages and vibration of calls and breath. the physical sound produced by a mouth and throat organism, under no computer manipulation, is not only for the artist to be fully involved during performance, but also to challenge the listener with an intimate relationship while receiving. the results of these explorations create a delicate world of primal and vulnerable soundscapes.
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