Overview This phase begins on 11 March 2010 and sees the emergence of sound fragments in the primary supporting gallery - Sanderson Contemporary Art (Auckland, New Zealand).
The focal point and sound fragments
The installation exists
beyond the installation space and into other gallery spaces, a result of a
‘sound explosion’ originating from the installation focal point. Sound
fragments are launched from the explosion and become lodged in a variety of
locations. The map below provides an overview of this concept.
The positioning of sound fragments by time
Returning to the concept of
the focal point as the musician and the sound fragments musical notes stemming
from the musician’s performance, time plays a part in determining the position
of each sound fragment in the gallery. In this instance, the performance lasts
for 5 minutes and 20 seconds and sound fragments are placed in time zones based
on the time at which they were performed. Each time zone is larger than the
previous time zone in time and area, representative of the compounding
experiences both performer and listener gain as the performance unfolds. The
map below provides an overview of this concept.
The positioning of sound fragments by space
Not only are sound fragments positioned by time,
but they are positioned by space. Time zones may cross a number of different
spaces, spaces that are utilised for different purposes. Some spaces are used
as exhibition spaces for different artists, some spaces represent the point at
which a transaction is made and a work passes from one to another, some spaces
are reserved for gallery staff to store personal possessions, and some spaces
are used to store work. Although each space serves a different purpose, they
may be seen as supporting a common goal – to support art and all those around
it. Sound fragments have been positioned in different spaces to promote this
common goal but also in such a way that respects the unique qualities of each
space. The map below provides an overview of this concept. | 
