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ATKINSON, FELICIA / RICHARD CHARTIER — Ni envers ni endroit que cette roche brulante
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listen:
https://portraitsgrm.bandcamp.com/album/ni-envers-ni-endroit-que-cette-roche-br-lante-pour-georgia-o-keeffe-recurrence-expansion
Flicia Atkinson: Ni envers ni endroit que cette roche brlante (Pour Georgia OKeeffe) (2021)
Flicia Atkinsons Ni envers ni endroit que cette roche brlante (Pour Georgia OKeeffe) is approached as a meditation, not as meditative music, but as a reflection on the art of creation: how to inhabit ones creation, how to convey it, domesticate it and live with it. Drawing inspiration from the artist Georgia O Keeffe, both in her work as a painter and in the houses in which she lived in New Mexico, and even in the landscapes that surround them, Flicia Atkinson has composed a piece that evokes and celebrates, in a poetic and holistic way, the mystery of art, the somnambulic oscillation that accompanies the act of creating. Blending fragmentary voices, islands of piano, electronic textures and patterns, and field recordings, Flicia Atkinsons music is sincere and inspired, a meditation, then, but also a lesson we sometimes forget: being an artist is not an activity, even less a profession, its a singular way of approaching the world and, in so doing, densifying it.
Richard Chartier: Recurrence.Expansion (2020)
Richard Chartiers music takes up residence at the frontiers of the audible, on the edge where sound diffracts into an inter-dimensionality where sounds, space, listening and silence recombine in an arborescence of becomings that present themselves to us and then disappear. The space-time in which Richard Chartiers music unfolds is a stretched space-time, barely emerging in the world of sound. The delicacy, precision and accuracy of the composition Recurrence. Expansion lies precisely in this dialogue between a shape that is exposed and developed in an inspired and masterful way, and the sonic biotope in which this shape develops. It is from such an encounter that the singularity of Richard Chartiers music emerges, music of attentive listening, but also sensitive, inhabited music, a music of discreet metamorphosis.
https://portraitsgrm.bandcamp.com/album/ni-envers-ni-endroit-que-cette-roche-br-lante-pour-georgia-o-keeffe-recurrence-expansion
Flicia Atkinson: Ni envers ni endroit que cette roche brlante (Pour Georgia OKeeffe) (2021)
Flicia Atkinsons Ni envers ni endroit que cette roche brlante (Pour Georgia OKeeffe) is approached as a meditation, not as meditative music, but as a reflection on the art of creation: how to inhabit ones creation, how to convey it, domesticate it and live with it. Drawing inspiration from the artist Georgia O Keeffe, both in her work as a painter and in the houses in which she lived in New Mexico, and even in the landscapes that surround them, Flicia Atkinson has composed a piece that evokes and celebrates, in a poetic and holistic way, the mystery of art, the somnambulic oscillation that accompanies the act of creating. Blending fragmentary voices, islands of piano, electronic textures and patterns, and field recordings, Flicia Atkinsons music is sincere and inspired, a meditation, then, but also a lesson we sometimes forget: being an artist is not an activity, even less a profession, its a singular way of approaching the world and, in so doing, densifying it.
Richard Chartier: Recurrence.Expansion (2020)
Richard Chartiers music takes up residence at the frontiers of the audible, on the edge where sound diffracts into an inter-dimensionality where sounds, space, listening and silence recombine in an arborescence of becomings that present themselves to us and then disappear. The space-time in which Richard Chartiers music unfolds is a stretched space-time, barely emerging in the world of sound. The delicacy, precision and accuracy of the composition Recurrence. Expansion lies precisely in this dialogue between a shape that is exposed and developed in an inspired and masterful way, and the sonic biotope in which this shape develops. It is from such an encounter that the singularity of Richard Chartiers music emerges, music of attentive listening, but also sensitive, inhabited music, a music of discreet metamorphosis.