• Physical pieces that generate sound and are sculptural in form.
• Sound creation, restructuring or manipulation.

Sound sculpting is to me a combination of the semantic of both painting and sculpture; sculpted sound has form and texture, light and shade, it is a spatial, multi-sensory experience operating in three dimensions, it can be be opaque or transparent, it can be sound, it can be noise, it can be music, it can be a mask. each sound experience is unique to each listener.

Sound is an abstract transient artform painted 'in the moment' using form, texture and dynamic. Sound interacts with the listeners' perspective to define the context of an installation in an environment or public space.

The beauty of this ephemeral form is that the interpretation varies from individual to individual from day to day, the aesthetics of visual art and music meet in that instant to create... and then it is gone.

Much in the way that a sculptor works with physical materials to create aesthetically pleasing or challenging forms, I work to create soundscapes of many forms.

In the case of physical pieces, some require interaction, others may be operating independently on a pre-determined or random setting or may be weather dependent.

Sculptures canbe indoors or outdoors, for public or corporate spaces, for public buildings and parks or in your own garden, a piece can be visible or merely audible.

I created an extended soundscape for the Magners Ice House at the 2002 Ideal Home exhibition.

The complete designed soundscape in the icehouse was 15+/- minutes long and designed to be played simultaneously on continuous repeat on 3 separate audio systems. The designed effect of speaker placement was pseudo-3D and the piece technically would never repeat itself.

I shot and edited a 3 minute video to give a flavour of the soundscape in context.

Dim lights

I also created a kinetic sculptural piece in an award winning show garden at the 2006 Hampton Court Garden show view webpage & larger video

Dim lights

I am a member of the British Inventors' Society, LTL (Learning through Landscapes), National Playing Fields Association (NPFA) the Sonic Arts Network (SAN), The World Forum for Acoustic Ecology (WFAE), the UK & Ireland Soundscape Community (UKISC) and Mensa.

Please contact me if you would like to discuss the commission of a sound sculpture for your organisation or region. Permanent public art is a rare pleasure in N Ireland, sonic public art is rare for now, but watch this space...; or should that be listen to this space..

The Explorative journey

There is a range of additional possibilities beyond the 'musical' or 'rhythmical' elements of a B3 garden.

Sound texture and sound timbre are elusive qualities of sounds to describe yet they are those by which we separate or define sounds.

Sound is described in many ways, high and low, loud and quiet are the common descriptors but what about sounds that are spiky, round, flowing, jangling... sounds that people perceive as colours or as specific resonances within their bodies, what about sounds that you can't hear but can feel or see?

Learning through Experiencing

The quotation from Carl Orff draws attention to the mode of facilitation impacting on the degree of learning. The difference between knowledge and understanding is key.

The melodic and other artifacts from Bing Bang Bong as well as the range of activities supplied and suggested are designed to facilitate sound play. Such curious interaction whilst delivering a creative and educational by-product will bring a wide range personal, social and community benefits. Where learning is a key client objective, our 'instruments' provide a musically useful canvas for a child's introduction to the creative and expressive use of sound, to learn by filling in their own gaps rather than being given filler - "involve me - I understand"