In this workshop with Rita Evans we will collectively make a series of sound-based instruments using paper and a computer microphone. We will think about ritual, task, tools, rhythm, materials and touch in scored cycles.

We will develop these instruments by exploring some of the improvisational processes Rita uses in her performances with multiple participants, such as: design feedback cycles, listening exercises, writing, and movement-to-sound activities that all involve free exploration with materials.

For this workshop you will need access to paper, card, tape, scissors, pen and note paper (for making sound notes) and a computer microphone. A wider range of paper materials (foil, card etc.), elastic bands, cup or bowl, headphones and a selection of microphones you can plug into your computer (to enhance the sound) may also be useful.

Schedule

Artist’s presentation: 12-1pm
Lunch: 1-2pm
Workshop: 2-6pm (with x2 tea breaks)

This workshop will be taking place online via Zoom. Please join the session here (password: OSERE2020) and ensure that your mic is muted unless you are speaking. These sessions may be recorded for archival and promotional purposes, so please switch off your video feed if you do not wish to be included in this. Please join early to avoid delays (there may be a queue, the host will let you in to the session).

You do not need to be an artist to attend this session and you do not need to attend the whole day.

Accessibility information

This workshop involves listening and creating sounds. Loud and sudden noises are possible as we experiment. The workshop will also include elements of performance, movement and writing.

About the artist

Rita Evans completed her MA at Chelsea College of Art in 2009. Since then, she has been developing sound-based performances and sculptures that are also playable instruments and tools. Rita performs these both solo and with multiple participants through scored cycles of making, adaptation and improvisation. In sculpture and performance Wool Matrix (2015), the collective task of a group of knitters results in the saturation and pace of evolving audiovisuals characterised by the rhythms of their shared work. In recent film and performance, Coil of Days (2019/20), a series of rituals and non- formal negotiations evolve between a group of women around eight different tools and instruments.