HOLY HUM + SINOIA CAVES
Holy Hum + Sinoia Caves brings sonic resonance to Khan Lee’s Red, Green and Blue. Played at sunset, this atmospheric composition expands the artwork as a theatre. Situated within the installation site, blending into the field of cones, performers draw audible complements to the inherent character of the immediate environment: buildings, traffic, people, noise, sky, water, wind and the artwork.
Visit Offsite, located at 1100 West Georgia Street between Thurlow and Bute Streets, during sunset (approximately 7:45-8:45pm) to attend this performance on the closing weekend of Offsite: Khan Lee.
Holy Hum is the musical project of multidisciplinary artist Andrew Lee. His installations, sound compositions, music and photography have been exhibited in Vancouver, Malmo and New York. In 2010 he was part of the exhibition First Nations/Second Nature at the Audain Gallery and in 2011 was asked by artist group Young-Hae Chang Heavy Industries to compose a sound piece that would exhibit formally the characteristics of seeing. In 2012, Lee was invited by the Vancouver Art Gallery to perform new work responding to the monochromatic paintings and photographs of Ian Wallace. Lee has performed and presented sound works at the Centre for Performance Research in New York (2012), Kunstradio in Vienna (2013), the Vancouver Planetarium (2015), the International Symposium on Electronic Art (2015) and most recently exhibited a sound installation at the Surrey Art Gallery.
Sinoia Caves is the solo musical output of Jeremy Schmidt, who currently also plays keyboards in Vancouver heritage rock act, Black Mountain. Schmidt has, over the years, assimilated a style and ethos of music-making based largely on an inclination toward atmosphere, repetition, spatial effects and the visual while utilizing antiquated analogue synthesizers. An ongoing subjective examination of the aesthetic past, its ephemeral means of production, the contentious nature of obsolescence and the way in which this receding/widening arc continues to reveal itself as it collides with the present, continues to shape and inform the trajectory of Schmidt’s work.
Free to attend.