BioSonics is a significant development of former prototype works that investigate the morphology of microscopic marine organisms.
The exhibition is currently open at The Western Plains Museum and Art Gallery until September 28th 2008.
BioSonics installed at Western Plains Cultural Centre August 2008.
Nigel has recently been an Artist in Residence at The Marine Mammal Laboratory (Tropical Marine Science Institute) of the National University of Singapore; developing a project for ISEA2008 exhibited at the National Museum of Singapore, July ~ August 2008.
Interactive audio cartography, driving a 12.2 immersive speaker rig.
Hydrophone location - Floating fish farm near Palau Ubin
This commission for a new Marine facility at Henderson WA has recently been completed. The work is comprised of three elements, a Video-projection work, a series of interactive biomorphic sculptures and an outdoor kinetic work.
Laser cut interactive units being installed.
WHAT SURVIVES: SONIC RESIDUES IN BREATHING BUILDINGS
March 2006 at The Performance Space ~ Curator, Gail Priest.
Consisting of three major gallery-based sound installations and a program of commissioned works for two sound stations in the building, What Survives explores the real and imagined remnants of human presence in architecture.
Year : 1995
Sculptural installation with multi-channel audio and video components.
Exhibited.
The Museum of Contemporary Art, Sydney 1995 as part of the “Sound in Space” National Sound Art Survey exhibition.
Materials.
Timber, audio-visual electronics, low frequency audio drivers.
Dimension.
x4 units @ 3m x 2m x 3m.
Installation footprint 10m x 8m x 3m.
Videotext.
Single channel continuous 45 minutes duration in French/English distributed to x4 output sources.
Soundtext.
x2 Stereo continuous audio loops @15 minutes duration with French vox and low frequency tone distributed out of phase to x4 output sources.
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A phenomenon by definition is inextricably linked to the possession of a sensory body. Naturally it is our habitual (and inevitable) use of the body’s perceptual horizons as indexical mechanisms which have created topologies of embodied and disembodied events or thresholds of the tangible and the intangible. As any foray, beyond a world bounded by Newtonian physics will demonstrate, our perceptually framed understanding of spatial and temporal reality fails to recognise objects and events which refuse to conform to the scale and velocity of the Procrastes bed which the frame of our body has become.......
Nigel Helyer 1992, An Unrequited Space, in Working in Public.