In 1993, this artistic partnership began experimenting outside their instrumental disciplines and into the wider world of art without a backward glance. Both specialising in sound art and music, Flynn and Humphrey have since accumulated an impressive resumé. Their works have an ongoing theme, focusing on sound, and often relying on human involvement to manipulate those sounds. Their work Echolation involved microphones projecting a cacophony of noise under Princes Bridge that responded to the people walking beneath it. But they have also worked with animation, film, dance and theatre throughout their careers, constantly collaborating with both national and international artists in order to enhance their predominantly sonic artwork. Their latest work, Gauge, is even more experimental than their norm, both in the artistic process and its presentation.
The inspiration for Gauge is weather and the water cycle, something that was particularly important to both Flynn’s and Humphrey’s childhoods. “We both grew up in the country,” explains Flynn. “My job on the farm was to empty the rain gauge so weather is certainly something that has absolutely formed my sense of space. Gauge is about some things that can be measured, some things that can’t be measured, something that’s an infinite process and a dynamic process.” As with a lot of the work that they do, Flynn and Humphrey decided to invite other Australian artists to collaborate with them on Gauge. Flynn describes the group of artists working on the project as “a combination of people whose work we’d responded to in different ways”.
Visual artists Rosemary Joy and Cameron Robbins and sound artist Graeme Leak have been working with the duo on Gauge for over a year with the help of two recruited scientists, Dr Michael Roderick and Dr Adrian Pearce. “We like working collaboratively,” says Humphrey of the process. “It opens up possibilities and opens up ideas. This is an installation form that is collaborative which I think is somewhat new. We are more accustomed to this idea of a singular person making their work so we’re testing this new concept.” Picking the brains of their two water specialists, the group of artists created works inspired by different areas of the water cycle that they particularly responded to. “Something that Michael Roderick talked about a lot,” Flynn continues, “was the fact that the world contains a finite and constant amount of water, and all of us really responded to this idea that it’s a closed system which has infinite process within it.” Humphrey adds, “We’re basically interested in increasing the understanding of that.”
The exhibition is made up of seven different installations, created by different people within the group. The room will contain water vortexes, tornadoes, sculptures and even water-powered instruments, and while the installations are separate pieces, they are very much involved and in fact reliant on one another. Humphrey explains, “The different elements are all orchestrated because we were all working together in the same room during the development period last year and that had an effect on what people ended up making. You get an experience of a symphony of the various elements which are separate works, but they integrate sonically and visually in the room.”
The installations are all very interactive pieces, requiring a human presence to bring them to life. “Essentially you’re working into an environment that you can play in,” says Flynn. “It’s not just to look at. Rosemary’s work involves two huge collections of mud which is designed to be played with, the Water Piano is designed to be played, Cameron’s vortex is activated by people using their breath. This is an invitation to activate them because they don’t exist without people.” Running constantly from noon until eight every evening during its opening, Gauge is open for anyone to explore. “We’d love people to come in and hang around for a couple of hours,” Flynn asks. “It’s a space where people can come and – there’s something contemplative about it,” Humphrey adds. “You can come in and experience all the elements indoors.” And not only have the team of seven collaborated together to create Gauge, but the project is being presented concurrently as part of Arts House’s three day arts festival Going Nowhere.
As other Going Nowhere exhibits run alongside the already busy and full Gauge, there will be a lot to take in. Regarding the experimental presentation of different works, Flynn explains, “It started with this idea of what’s it like if you have two works on at the same time? What’s it like if you share your resources? What’s it like if you have Gauge and Going Nowhere in the same space at the same time? Is it stupid? Is it possible? Is it the future?” When asked whether or not they’d been able to answer those questions, Flynn and Humphrey both laugh. “Guess we’ll wait and see”.
BY KATE MCCARTEN
