How are field recordings thought of within a gallery environment as stand alone works?
How would field recordings be received when many artist performances that I’ve experienced have been solely synthesized sound works?
How would the cultural or historical contexts of a piece be referred to and presented within a live performance?
Kim Walker is a Scottish artist working with sound, video, installation and new media. She gained her MFA in Studio from SAIC (School of the Art Institute of Chicago) and her BA (Hons) Time Based Art from DJCAD (Duncan of Jordanstone College of Art and Design). Through my art practice, I seek to understand pathos, our personal experiences and how we interact with rules and each other. I am interested in the intimate spaces we create that exist between human beings, such as temporary spaces that exist when we play games. My work explores spoken and unspoken words, intakes of breath, reactions to specific experiences and situations, internalisation of thoughts and what we choose to present of ourselves to the outside world.
