Sing … Singe
Earlid opens its doors entertaining two words: sing and singe. Sound artists were invited to participate and those who responded offer words, sounds and images to frame a virtual threshold.
Sing/Singe came about by swirling words in the mouth, across the tongue, rimming the ears. One word is resonant with joy or melancholy; the other, sinister, ashy. A single letter divides them and in some cases, they become fully audible (not simply a song being sung or the hiss of burning). In many instances there is a story or a space or metaphor confabulated of these words.
Inexplicably, we’re pulled towards these divisions and overlaps. They are superbly audible; stories unfurl and the body leans in closer. This opening of Earlid actually marks the first of periodic Liminal Sounds invitations where artists are asked to consider a theme. It’s a kind of wishful listening feeding my inquiries and those of listener-visitors, such that a loop of curator-listener-practitioner evolves. Sing/Singe was, thus, born.
Earlid is an enfoldment of sounds upon stories upon bodies and imagined gallery rooms. Its virtual medium allows for a private listening experience that becomes crowded with listeners (“… and you tell someone about it, and they tell another, excitedly …”). Linger to discover a structure amidst the evanescent quality of sound itself, sutured together at this threshold.
Sing/Singe includes sound-only works—fully produced, immediate sketches and vocalized experiments. Text-driven artistry floats across the page as if it were ensounded. One collaboration invites relationships between animated image and sound. This opening prelude features newly inspired sonic gems; others are serendipitous investigations from across the span of years.
Thanks to the artists who responded to the inaugural invitation. Visit their curation above to hear and read and see their singe-y and song-full ideas.
Artists featured in Sing/Singe:
—Joan Schuman, Earlid