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In 2016, I got in touch with Raymond Delepierre, while solding him David Toop's vinyl "New and rediscovered Instruments " and my P-ART albums. Raymond Delepierre lives and works in Brussels. He creates sound scapes, sound experiments and installations in galleries and public spaces, from London to Bavaria. Recently, we agreed once more at the Brussels "Congress" Station in response to his exhibition "Curved Air"(2017), a multidisciplinary project with pictures and posters, sound sets and word art, 'natural' sounds produced by generators, etc.  In a non-conventional way, Ray recovers and developes technical devices that give a physical identity to sound.  I feel involved en connected to his  poetic approach of  sound and sound objects.




                                                                Photo by
"My earliest reminiscence of 'sound' is the North sea breeze
blowing up the sand on the stretched canvas
. Woolly as fog."
(Ray Delepierre)
First, click and listen to three of my sound performances: La Belle Endormie / SIMPLY WORDS / Demo LIVE Rosenfeld-Porcini
When listening to my compositions, please use a good quality sound system able to emphasize the full acoustic range.

Please don't forget to return to this page: my contribution to the P-ART Web of Artists.

Scroll down to read my contribution

The very first sound I can recall is the wind from the North Sea diving into the family’s tent and the sound of the sand sliding on the stretched canvas. I always believed this listening experience was a turning point.
It was really mysterious and really beautiful.
Since then, I nourished a big curiosity for the sound material, his physical representation in an autonomous body and its implication in fields as diverse as scenic arts, architecture, urban environment, scientific research, fine arts.
Imaginary keeper, I regularly asked myself about the implication of the perception everyone of us can have when confronted to sound, this invisible and unthought medium.
By composing noises from objects and simple tools of our daily life, I stated my desire of shaping the sound through installations.
I have a big interest  for something that is alive, the sounds and its space of interaction, the sounds as materials, as objects, as archives, as sculptures.
I organize, transform and modify sounds to give them another functions. I capture them with the help of basic solutions, the magnetic, Hertzian, pick up coil, electrical, aerial mediums/fields, in order to form a sound identity that then I cut in sequences with the effect of an event on another event.
The result is an evolutive sound writing in motion.

PERPETUUM movement

PERPETUUM movement-installation

PERPETUUM movement - installation

PERPETUUM movement - image of the sound.
Click and go to the Perpetuum sound installation
For this work, I desired to create the image of the sound produced by the reflection of a mirror in another mirror and the extended transformation of this image. Two mirrors, in front of each other, reflect the image of the opposite mirror and consequently its own image to the infinity. For this purpose, I gathered different sound sequences from Walt Disney movies that approached the question of reflection.
Starting with a ten minutes sound material compilation, I produced an engraving on a mirror disc in plexiglass.
Beforehand, those sounds were transformed into a visual image by a spectral decomposition of the sound. I deployed the sound wave and its frequency variations in an image corresponding by analogy to a long spiral string (see color picture).
The variation of frequencies/colors is then translated into a scale going from white to black. Meaning that based on the frequencies produced by the selected sound sample, I transposed them on a scale ranging from white = 0%=20 hertz to black = 100% = 16 kilohertz.
The set of gathered data allows then the translation into a vectorial image making possible the engraving of the groove on mirror disc, similar to the one of an analog vinyl disc.
The reading of the engraved informations is played by a traditional turntable but modified.
The one I used is turning with a speed of 3 1/3 rounds per minute.
The effect of this modification of the turntable is a new transformation of the information received by the reading needle.
A last transformation step is done in real time: the analog signal captured by the stylus of the turntable is going through a software I programmed to modulate it into an electroacoustic sound composition.
The engraved slow-motion disc has a 100 minutes duration, the turntable will re-read the disc as many times as desired using its built-in repeat function. At the end of the disc the tonearm will come back to its initial position at the begining of the mirror disc.
This will accentuate the Perpetuum effect (which is not disrupted in the space-time) of the mirrored image that reflects into itself.
The action of the listening visitor will also have a final influence on the composition, the needle will receive the vibrations caused by his movements in the proximity and will act in real time on the composition by adding some fine harmonics.

This sound object produces a slow-motion/slow movement effect reinforced visually by the unusual slowness of the turntable rotation.

Like usually in my work, I aspire to create a great poetry emanating from this installation. Beyond the listening, the question raised is also about temporality acoustically contemplated.
There are two different ways of listening to this sound landscape. The first one is to be seated without moving in a defined place.  The second is to move through space observing the locations in the room where the frequencies are stronger or weaker perceived. The first listening position will allow to better feel the different periods of harmonic frequencies and thus let yourself submerge in a « suspended time in movement ».

Beside my sound research I’m doing live performances including both video and different branches of sound listening and also materials and settings I design and craft myself for the event.

Raymond Delepierre - So Quiet Serie - parasitage#2 - GIRLS (2014)
Garlands, Christmas lights, guitar amps, resistive bobiones, electric relays

 POINT O at Rosenfeld Porcini Gallery - London 24 may 2013
video & sound performance https://vimeo.com/72969973

 Solo Live Performance: https://vimeo.com/113846231

Live Performance with my Unfulfilleduo:  https://vimeo.com/207376838

Around my artistic and professional activity (technical manager of a contemporary theater / sound designer), I teach since 2000 Writing Sounds at the Ecole Nationale Supérieure en Arts Visuels, div. Numerics Arts - La Cambre in Brussels.

About Raymond Delepierre ( FR & EN press):
Interview –  Belgian French radio RTBF: https://www.rtbf.be/auvio/detail_raymond-delepierre-curved-air?id=2191736

Recent exhibitions

2012 - Flesch festival (Exhibition & live manipulation of acoustical objects) - Rockerill - Charleroi - BE.
2013 march - A fragile existence (Performance exhibition – acoustics & materials) – Rosenfeld-Porcini - London - U.K.
2013 may - POINT. 0.  - Performance - Exhibition of acoustical objects – Rosenfeld-Porcini - London - U.K.
2014 - Parasitage - exhibition sound installation - école des vétérinaires - Brussels - BE.
2014 - Mouvement (exhibition sound installation) - Glacières de St-Gilles – Brussels - BE.
2014-2015 - Intérieur Voix – Performance, creation acoustical objects and listening exhibition - theater - Brussels - BE.
2016 - Curiouser - exhibition sound installations - private space (cour du curé Letellier) - Mons - BE.
2017 – CURVED AIR – Solo exhibition at Congress Station Brussels – January to march 17.

Comment by Raymond Delepierre © 2017

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