Created (XML-ARTIST_SELECTED_WORKS-NigelHelyer.xml) Open frame source for XML data.

( 108 1952 Nigel Helyer images/artists/Helyer.jpg Australia 1085 Din; Ding Dang Dong (1989 - ) Permanent Installation South Korea 1989 Seoul Olympic Park images/works/Helyer-1987-DinDingDangDong.jpg Nigel Helyers Din; Ding Dang Dong was located at Seoul Olympic Park, South Korea in 1989. This large public sculpture aimed to be more than a physical object, being conceived as a site-specific work for Korea, a nation in a state of transition. The artist responded to this changing culture by creating large steel and granite forms intended to challenge a range of senses, both physical and psychological. Helyer describes his inspiration for the work: Din: Ding-Dang-Dong is squarely rooted upon the twin themes - Transition and Metaphor. The central Crucible/Bell elements of the work are iconographically keyed to both the historical Korean tradition of the heaven Bell, directly invoking their resonant spiritual connotations. Simultaneously they are direct descendants of William Blakes dark satanic mills - the Bessemer converters and reverbatory furnaces of heavy industry, an epoch, which ironically is slowly expiring in the West, only to be reborn in Asia! His choice of the bell image, a recurrent image and sound in Helyers work takes on a different meaning in this context. Sonically, he sums up the work this way: The site presents a range of sonic capacities which are latent; those who wish to engage the work physically are invited to summon up a series of tones, but beyond the immediate presence of these notes lie the pure harmonics of the ancient bells resonating in company with the reverberations of the steel works - the metaphor re-orders history and implodes the contradictory. (Catalogue Olympiade des Arts, April 1988) 108 1952 Nigel Helyer images/artists/Helyer.jpg Australia 2215 Silent Forest Installation USA 1996 SoundCulture 96,Falkirk Cultural Center, San Francisco. images/spacer.jpg an installation that links the the ecological voids caused by the use of dioxin defoliants in the Vietnam conflict with the high culture of Western opera. A co-founder of SoundCulture 108 1952 Nigel Helyer images/artists/Helyer.jpg Australia 1083 Host Environmentally Sensitive Installation Australia 2002 Biennale of Electronic Arts, Perth, Western Australia images/works/Helyer-2002-host.jpg An installation developed recently at the ëSymbioticAí Bio-Art and Technology Laboratory (University of Western Australia) in which an audience of live Crickets attend a lecture concerning the sex life of Insects.The lecture, in the form of two DVD projections, has one sound track recorded directly from the speakers voice, whilst the other was recorded directly from the aural nerve of a Cricket. If nothing else, this installation is ample proof that our own sex lives are much less interesting than we suppose!!! 108 1952 Nigel Helyer images/artists/Helyer.jpg Australia 1084 Chant Sound Sculpture and Temporary Installation Australia 2002 Biennale of Electronic Arts, Perth, Western Australia images/works/Helyer-2002-chant.jpg The essence of all beings is earth, The essence of earth is water, The essence of water are plants, The essence of plants is man, The essence of man is speech, The essence of speech is sacred knowledge, The essence of sacred knowledge is word and sound, The essence of word and sound is OM The Upanishads Nigel Helyerís ëpluri-disciplinaryí practice forms a kind of sonic-architecture - utilising space, sound and installation components to create experiential environments. In Chant the sound of chanting quietly permeates the space as the Buddhas repeat the Tibetan Buddhist mantra ëOm Mani Padme Humí in an endless loop and perfectly in sync. Chant effectively transforms the cool classical architecture of the Gallery from being a temple to the arts to being a temple for spiritual pursuits. 108 1952 Nigel Helyer images/artists/Helyer.jpg Australia 1086 Meta-Diva Outdoor Installation, Permanent Installation Australia 2002 Werribee Park, Victoria images/works/Helyer-2002-diva.jpg ìMeta-Divaî is an environmental Sound Sculpture, designed for installation in a wetlands site. The work consists of a grouping of thirty individual units, each incorporating a solar powered digital audio ëvoiceí which emulates an element of the natural sound-scape. Each unit contains a miniature digital audio chip, coupled to a digital timer, set individually so that each of the thirty units has a unique time signature. The audio chips contain short samples of natural history sounds, bird song, and insect song and frog voices. The combination of multiple sound sources, in conjunction with individual time signatures and the fluctuations of the solar power supply give the sound scape an un-cannily natural presence. Technically, this a type of emergent behaviour in which, although we might recognise the repetition of individual sounds, the overall soundscape is in fact an infinite mix; somewhat akin to the always familiar, but never repeating sounds of a creek. In reality, the sound-scape blends so seamlessly with the natural environment it is quite difficult to distinguish the artificial from the natural soundscape. The physical structure of the sculpture employs the metaphor of plant biology and the thirty units are grouped as if to form a bed of Lotus plants. The sculpture is entirely constructed in Aluminium, the top element being of spun and welded Aluminium, with all surfaces powder-coated. Individual units comprise; a 3.5 metre tall stem which in turn support a small solar panel and terminate in a florette formed by a central bud surrounded by eight small exponential speaker horns; each florette being some 0.5metres in diameter. The work has been designed for installation, in a lake-side context, the solar panels and the audio electronics are fully marinised and require zero maintenance, there are no batteries, no switches and no moving parts ensuring a minimum of ten years operational life before maintenance is required. 108 1952 Nigel Helyer images/artists/Helyer.jpg Australia 1088 Haiku Environmentally Sensitive Installation Australia 2002 Boutwell Draper Galley, Redfern, NSW images/works/Helyer-2003-haiku.jpg Haiku is a multi-part solar-powered environmental sound sculpture that distributes a series of traditional Japanese poems via miniature digital audio storage units operated by solar timers. The version of Haiku shown in this document is of the installation at Boutwell-Draper Galley, Sydney as part of the ìGone to Earthî solo exhibition 2003. A new solar accumulator/timer circuit was developed to permit this project to operate indoors. 108 1952 Nigel Helyer images/artists/Helyer.jpg Australia 1087 Seed Audience Interactive Installation Australia 2002 Biennale of Electronic Arts, Perth, Western Australia and NoiseFloor, Stanford University art Gallery 2003 images/spacer.jpg In English, we speak of mines sown in fields or laid somewhat akin to an egg, or perhaps a cunningly laid trap. This is a domestic and agricultural lexicon whose familiar words belie the barbarous intent of these small kernels of violence. Mines are ontological devices; they lie in wait for the future! Such a concept is resonant with the Old Testament parable of the sowing of seed, in which the germs of the future are broadcast, as if by chance, across a varied range of terrain, some fertile and fruitful, and some stony and barren, in an ecology of destiny. In a more obvious combination of the fruitful and the fatal, we might recall the recent aerial seeding of Afghanistan with small yellow packages, some round and some square, some containing food but others deadly ordinance. Whilst the physical geography of Islam acts as the historical context for the mytho-poetic spaces and narratives of the Old Testament so to it acts as a repository for hundreds of thousands of landmines - a testament to the failure of military solutions to generations of economic and political instability. Should we heed the adage As you sow, so shall you reap then an optimistic future in the region is less than assured. Seed is a sonic installation that metaphorically collides our agricultural lexicon of the minefield with the narratives of the Old Testament and the contemporary disasters of military and ideological conflict. It does so by inviting the viewer/auditor to literally enter a sonic-minefield. Each visitor may equip themselves with a simple mine-detector that will allow them to listen in to the sonic terrain emitted by the mines. Perhaps to their surprise, the small facsimile landmines, each resting at the centre of an Islamic prayer mat, do not voice strident political commentary, the sounds of battle or doctored media grabs! Instead the encounter is with a sonic world of looped Arabic music, some ancient and some contemporary, overlaid with voices, in Arabic and English, which enunciate the ninety nine names of Allah, each name supported by a brief extract from the Koran. Seed therefore proposes a place of complexity and ambiguity within which to contemplate the simplistic and unilateral position of current military and political events. It is after all sobering to consider that the death toll inflicted by landmines (principally in the developing world) is equivalent to the appalling destruction of the World Trade Centre - repeated five times each year. 108 1952 Nigel Helyer images/artists/Helyer.jpg Australia 1082 GeneMusik Research Australia 2006 The School of Anatomy and Human Biology, The University of Western Australia images/works/Helyer-2006-genemusik.jpg GeneMusik is an ongoing experimental project hosted by the SymbioticA Laboratory of the University of Western Australia in which I am attempting to literally breed hybrid musical works. During the modernist period many composers have used computers to create new musical forms, usually by employing some form of algorithm, for example granular synthesis. In many respects such attempts mimic biological processes. In GeneMusik I am taking a strictly biological approach by converting standard musical notation into DNA codes. These code sequences are synthesised into DNA which is then introduced into the genetic composition of bacteria, who are happy to reproduce the coded tunes. It is hoped that when the bacteria are induced to share their different sequences the resulting DNA material will, upon re-sequencing, reveal new musical ëmixesí. )