selected works
In Wonderful, Marvelous, the audience is invited into a room filled with the floating sound of a singing female voice – the voice of the artist herself - and sonic feedback. One senses fragments of recognizable melodies from songs that envelop the World War II era. The music is overtly of love, desire, and sometimes serene optimism. At the same time, the songs are encrypted with politics and disillusion and a gaze towards empowerment. The exhibition is part of the program for the Ultima Oslo Contemporary Music Festival. In addition to the exhibition at Atelier Nord, Camille Norment premiered a new performance composition in the festival.
A generative soundscape of song and sonic feedback, the ethereal song fragments float in slow swirls around the exhibition space. Here it morphs into resonant sonic feedback produced by discrete microphones which capture the disembodied voices. Recognizable melody is abstracted into simple chords. These slowly reveal notes that hint at the melody while keeping it just out of grasp. The ambience is alive in its waves, swells, and bitter-sweet tonal words that tease the thresholds of beauty and pain, empowered by dissonant feedback. Visitors move around within this generative soundscape, inevitably affecting the acoustic response, while caught in the seductive tensions of song and feedback.
In Wonderful, Marvelous, the audience is invited into a room filled with the floating sound of a singing female voice – the voice of the artist herself - and sonic feedback. One senses fragments of recognizable melodies from songs that envelop the World War II era. The music is overtly of love, desire, and sometimes serene optimism. At the same time, the songs are encrypted with politics and disillusion and a gaze towards empowerment. The exhibition is part of the program for the Ultima Oslo Contemporary Music Festival. In addition to the exhibition at Atelier Nord, Camille Norment premiered a new performance composition in the festival.
A generative soundscape of song and sonic feedback, the ethereal song fragments float in slow swirls around the exhibition space. Here it morphs into resonant sonic feedback produced by discrete microphones which capture the disembodied voices. Recognizable melody is abstracted into simple chords. These slowly reveal notes that hint at the melody while keeping it just out of grasp. The ambience is alive in its waves, swells, and bitter-sweet tonal words that tease the thresholds of beauty and pain, empowered by dissonant feedback. Visitors move around within this generative soundscape, inevitably affecting the acoustic response, while caught in the seductive tensions of song and feedback.
