In Coil of Days, a film and live performance, a series of sonic sculptures and instruments unfold in eight scenes.
We unfurl the sonic spaces of the sensitive instruments playing and working them as our shared tools. In the first scene, the realm of openings, our playing of the Aqueous Spine vertebrate, created liquid sounds that connected us across the space. Our breath condensation transformed the pitch of the flutes in Sphinx instrument, the tone of which was adjusted by our opening and closing of multiple doors. In The Thinking Reed, multi pipes were played to sample and filter the air as one multi limbed being. In Trefoil, a triangle structure instrument with tremolo arms allowed the formation of geometric shapes and pitch shifting in negotiation. In An Evolutionary Remnant, a bow and rock propagated and rooted us in the newly established landscape.
Voices of more women are blended into the audiovisual compositions in the film as a set of six memorandums written by Amy Lay-Pettifer, (who also also reads the voice of artist and occultist Ithell Colquhoun in the film). These are based on the personal and tactile nature of the negotiations that took place in the improvisational process of making of the performance itself.
Performers, instruments and sounds come together in an intricate series of delicate and suspended relationships.
The sculptures and their playing were developed in 2017-19, filmed in 2019 and completed in 2020.
We acknowledge the support of the Canada Council for the Arts. canadacouncil.ca