Designated Noise Barricade, April-May 2024
230 x 153 x 62
Steel, concrete and wood.
This sound installation serves as part instrument and part as a representation of barriers we may face. Human made barricades are ubiquitous within society and serve as means to obstruct, contain, divert and control. The structure is designed to feel cold and authoritative while also blending into the mundane, which is what can be menacing about these forms of omnipresence. The intention is to subvert this presence and reappropriate it into being a playful instrument as you likely would running a stick down a rial as a child. The concealed rungs under the concrete cover are at different lengths that produce different semi tones, so the instrumental element is a surprise that becomes apparent when interacted with, if you are curious enough to do so. The base is connected to a contact microphone and it emits from speakers with delay effect in different locations around gallery spaces.
Link: Designated Noise Barricade | Bodie Stanley
Composition: Various Barricade Frequencies, May 2024
1:13 mins
A sound piece composing various different frequencies of sounds captured from different fences and gate railing and barricades around London. this has been made in research to Designated Noise Barricade and potentially and invitation to engage with the piece
1/12th, March 2024
102 x 45 x 53
Acoustic guitar, disassembled fan, night visibility dog collar lights, rotary motor, circular pane of glass, clock motor with one hand, saw and scaffold bracket.
Utilising things that I had already been using in my practice, such as fans and the dog collar lights, experimenting and positioning them in different ways. There is a subtle kinetic sound element in this work when the clock hand brushes a guitar string for 4-5 seconds each minute which can be overlooked. For an updated version in my studio space assessment, I have added a contact mic into an amplifier that also pics up sounds in the room and have positioned the saw in a more severe angle.
The Observers, March 2024
93 x 42 x 4 Diptychs
Acrylic, black chalk board paint, refuse sacks, sash window frames.
This work began with the painting on the right, which was a painting from memory of the ominous presence of drug dealers continually on the lookout for police or customers from their windows. This was something you got used to playing outside as a kid, and it often led to witnessing a raid or crime. This work has a link to further artworks in relation to these types of play and troubled nostalgia under certain circumstances.
The Homemade Orchestra, January 2024
A5, 20 pages
Edition of 30
This publication was displayed at the Lethaby Gallery with an accompanying Workshop. It consists of an instructions manual for making instruments from everyday materials found in the home. The inside sleeves were hand drawn to work with its DIY aesthetic and the cover was intentionally made to look like an old retro manual that might be forgotten in draw.
Extracurricular, Febuary 2024
Performance art show at the Letherby Gallery
Taking part in ‘Extracurricular’ a performance show lead by Marc Hulson and Owen Parry and in collaboration with students From CSM and the Art Academy of Latvia. Students worked collaboratively with tutors to choregraph various performances.
Extracurricular Soundscape, Febuary 2024
54 mins
A composition made up of field recordings ambient synth sounds to split into 5-minute segments and played on a loop to accompany the 4 hours of Extracurricular performances. My favorite section produceded included the sounds of a photocopier and a swelling of synth noise that highlights the feeling of being disconnected in the and mundane task and mechanical rhythm.
Act 4 Scene 1, December 2023
Performance 10 minutes
Live interaction with performance and sound using clay and earth, rubbish, improvised instruments in an industrial land fill set. I performed jarring sounds, in a scaffold frame that represented industrialisation and environmental destruction and Harriet Hammond performed actions to represent human life and survival using what was available or left over. This we discussed these elements, and the power imbalances and then this was performed improvised live at the December 2023 open studio.
Hypermedia, 2023-present.
Sound Compositions and Performances
Since summer of 2023 I have worked on several compositions for performances with Harriet Hammond for her performance art events night ‘Hypermedia’ at the Fourth Portal in Gravesend these have consisted of samples of various instruments such as suitcase organs, kalimbas, guitars, and synthsisers, mixed edited and layered with field recordings, sometimes sounds were improvised live to go with the performances using objects and contact mics
Link: https://www.youtube.com/shorts/3JMH8jWek7U?si=-djVwAlIjDDp-pJ6
Subterranean Migraine Stimuli, June 2023
169 x 98 x 50
Animation 3:18 minutes, consisting of an exaggerated migraine experience, installed in a suitcase
containing shattered tempered glass, within a scaffold frame propped up by a filling cabinet and
balancing on a wooden cube on an ornate stone pillar.
Aftermath, June 2023
Large installation encompassing a whole room, with various sculptures embedded throughout, with
sound, lighting, and video works.
This was a group space made with artists, Xueting Chen, Alex Hayward, Eduardo Rito, and Sandra
Zanetti. some sculptures were made individually while most were made through collaborations,
mixing our collectively sourced materials, and assembling things in groups with collective curatorial
discourse. I made the scaffold frames with ivy vines, the lighting piece with interval timers
and the damaged drainage mat stretched over a sheet of steel with bendable steel bracket bands
and cable ties.
Video link: https://www.bodiestanley.co.uk/aftermath
Broken Systems, March 2023
178 x 95 x 42
Car door, scaffold frame, shattered tempered glass, lamp, Teensey development board for light
sensor and audio triggers.
This sculpture contained a sound piece that commented on police stop and searches, its intention was to have an alarm that would go off when viewers go to close, highlighting the feeling of accusation or being in the wrong place at the wrong time. That element malfunctioned somewhat but it still had an interesting effect.
video link: https://www.bodiestanley.co.uk/broken-systems
Windchime III
2022
Metal segments from filing cabinet, scaffold frame, snake plant in a pot, tree roots, guitar strings, cotton thread, leather cords, fishing line, acrylic paint on canvas, LED light and blue colour gel, oscillating fan, contact mics, instrument cables, effects pedal, sound mixer, guitar amp, and monitors.
Hypogeal
2022
Colour lights and sound.
Create on the Estate
2021-present
Facilitating workshops for children aged 5-12 in various creative, sound and ecological practices.