I feel especially excited about our collaboration with Chris Clark the electronic musician on Fixing Point. He is a fantastic man, we had never met him before, but admired his work from afar and this was our chance. Working with Chris was about as easy and pleasurable as it is possible to be. And it was so great to be close to another artist working on a response to the subject and the location. We collaborate with software developers and our associate artists a great deal, but not really with other artists outside of this. He listens, thinks, walks out in the terrain and then disappears for a while. When he came back each time there was something new, strange and exciting. We worked at Snape Maltings, so Chris got to work with the instruments in this amazing music centre, a harpsichord, the timpani and the sounds outside, all turned up in Chris’s experiments.
My current favourite track by Chris is Black Stone taken from the album Iradelphic. If you don’t know his work I highly recommend this track as somewhere to start, but it’s not typical.
Anyway, Fixing Point at Stanmer Park is in a wood we especially chose for the work. We think it is a great location, a bit strange under foot, some human detritus around. We waited for nature to take its course and spring to arrive to choose the best exact location for the work. Should we go for a ridiculously sweet and sickly bluebell scene, an unsuspecting piece of terrain for this kind of activity or do we go wild vegetation with the possibility of having your eye gauged out by hanging plants? Last week the sun came out during our site visit and now we have decided.