Video documentation of projects                        audio    photographic

 
 

THE STEPS


Commissioned by the Arts Office of the University of Limerick, and the Irish Museum of Modern Art, Dublin, THE STEPS is a unique sound art work undertaken with the 7pm-8pm Step Aerobics class at the University of Limerick Sports Arena. This class is a long established health & fitness facility for students of the University and the general public in Limerick. The particular class has been running for over 10 years and has a large regular public attendance (up to 150 participants).


In September 2008 visual artist Sean Taylor undertook a series of creative workshops based on introducing members of the UL Aerobics Class to contemporary film works from the IMMA Video Art Collection during their one hour workout class times. The videos were screened during the class to instigate and stimulate discussion about contemporary art practices with the group.


The result of this relationship is the realisation of a new collaborative sound/performance art work, entitled THE STEPS. The artwork is based on the vocal/whistling instructions of the aerobic instructor, coupled with aerobic and fitness based patterns /movements. The finished artwork is located within the existing workout routine, and will become a permanent feature of the groups workout.

The Blushing Hills


In my work for the Ground UP project I sought to create a temporary ephemeral artwork that specifically addressed a rural and geographically isolated audience. To maximise access to the work for this audience I designed an aerial artwork entitled THE BLUSHING HILLS. The text-based artwork attached to the side of a hot air balloon contained 14 foot high letters with the inscription: 'THE BLUSHING HILLS. The aerial artwork was launched in June 2005 and flew over town lands and villages in The Burren, County Clare, Ireland.


The text for the balloon was based on notes from overhead and recorded conversations that the artist undertook with members of the public over a three-month research period in 2004, in relation to personal descriptions/impressions of the Clare landscape. In this case the text The Blushing Hills, refers to the colour of the Clare Hills when the heather is in full bloom.

Duet for soprano and helicopter


Duet for soprano and helicopter' was a temporary airborne sound art work designed by Irish artist Sean Taylor for the 'Sense in Place' SiteAtions International art project in Reykjavik, Iceland in 2006


The work consisted of a re-arrangement and recording of the well known Icelandic Folk Song; Vísur Vatnsenda-Rósu. The work was sung and performed by soprano's Signý Saemundsdóttir and Johanna Thorhallsdottir . The finished sound work was the disseminated for the public using two helicopters with specifically modified public address systems.


The helicopters performed this choreographed sound work between the island of Videy and the city of Reykjavik, on Thursday 25th May 2006 in a fifteen minute aerial concert.

NOBODY LEAVES TIL THE DAPHNIA SING by Sean Taylor & Mikael Fernstrom, at the INFECTIOUS exhibition at Science Gallery, Trinity College, Dublin

React, Repair, Reclaim.


A video artwork shot on location using photographs and stock film found at the former Soviet Army base in Burneo-Sulinowo, North Poland in June 1993, by Irish artist Sean Taylor.

At the end of the Second World War in 1945, the Soviet military established one of the biggest military camps of the Northern Group of Forces at Burneo-Sulinowo. During the time of the Cold War the town was excluded from Polish jurisdiction and erased from all maps. In official documents of the surrounding communes, the area of former Gross-Born and the surrounding 180 km² were called forest areas and remained a secret for almost 50 years.


After the collapse of the Iron Curtain in 1989, the Soviet Army withdrew its forces from former Soviet block counties including Poland. The last of the Soviet units was withdrawn from Burneo- Sulinowo in 1992, and the town officially became part of Poland

On September 15th June of the same year the Council of Ministers granted the town with a city charter and a process of settlement started. Among the first inhabitants of the town were Polish repatriates from Russian Siberia and Kazakhstan, who were finally allowed to return to Poland after more than 50 years of forcible resettlement in Soviet Union.

Running time:12mins

Anthem


Was the first in a series of video/sound art works that explores the role that nationalism, tribalism, politics and sound play in sport.

The national anthems of both France and Brazil were recorded during the finals of the World Cup of 1998, then edited in a continuous loop, and deconstructed to produce an endless, frenetic 'third anthem' which challenges the traditional function of a national anthem.

Kobe Flow


Video/sound art work by visual artist Sean Taylor commissioned for the Europe meets Japan 2005 cultural program, supported by the department of Foreign Affairs, Ireland and The British Council. The brief for this commission was to produce a video/sound art work that created an impression of the city of Kobe, Japan. The work was constructed using video field recordings of the city during a residency in Kobe by the artist.

Sonic Limerick


Sonic Limerick is an improvised sound art work designed to be played on mobile phones. The composition is constructed using audio field recordings of the city of Limerick, which have been altered using various computer based audio editing softwares. Each composition has been converted to MP3 or MP4 ringtones for mobile phones. The finished work was performed by 'The Mobile Philharmonic comprising of students from the Sculpture & Combined Media at Limerick School of Art & Design and coordinated by Sean Taylor and Amanda Dunsmore on Wednesday 13th January 2010 in the Church Gallery, LSAD, Limerick.

100 Paces (excerpt)


At the initial site visit to the National Museum of Ireland at Collins Barracks, attention was drawn to the dynamic acoustics and the architecture of Clarke Square (formally known as Palatine Square).


This square seemed to Taylor to be a natural amphitheatre for a sound based work. However the real starting point for the work was the original hand painted pace markings located on the walls on both sides of Clarke Square, a historical legacy from a time when the British Army occupied the barracks. These pace markings numbered 0-100 were used to assist army recruits whilst learning drill movements. Sean Taylor reflected on a number of other elements that shaped the work, the weight of the historical legacy of Anglo/Irish conflicts, as well as the changing nature of this relationship and the traditional perception of soldiers as professionally trained killers.


There was a realisation that the work needed voices, lots of voices, these voices also had to able to march, sing and drill at the same time. It had to be performed by soldiers, lots of soldiers. The next step in the process was to approach the Defence Forces with an idea to work with a group of soldiers. After submitting a proposal, permission to work with army personnel was granted by Lt. General Jim Sreenan, Chief of Staff, Irish Defence Forces in August 2006.


In August 2006 Taylor was assigned to work with a company of soldiers from the Command Brigade Training Centre, at Collins Barracks in Cork. Over a five month period (August to December 2006) he worked collaboratively together choreographing and developing the work on the parade ground in Collins Barracks Cork. In January 2007 he shot the video of 100 PACES in Clarke Square in the National Museum at Collins Barracks, Dublin. In February they presented three publicly advertised performances of 100 PACES in the Museum.


To watch an interview with Sean Taylor click here