BERBA WALK WITH ME

From my early years studying visual art, I felt drawn towards the realm of sound. A desire to make the intangible tangible, to give form to the formless. This fascination guided me on a journey to visualise sound, not through the use of digital techniques, but through the raw, organic vibrations that each sound carries within itself. This exploration opened up a world where ancient wisdom and modern scientific understanding coalesce.

The notion that sound is the genesis of the universe is a profound one, that spans across time, connecting the wisdom of our ancestors with the quantum knowledge of today. This concept posits that the universe emerged from a primordial sound or vibration that continues to ring throughout existence. This idea resonates in the teachings of various ancient cultures that recognised the power of sound, vibration, and frequency. For instance, the indigenous people of Northern Australia, believed to be the first to use sound as a healing power, expressed this through the didgeridoo.i¹. The unique sound waves produced by this instrument, considered to be the oldest wind instrument, were believed to be heard through the Earth¹.

In the spiritual practices of the Hindu tradition, the sound ‘Aum’ is considered the primordial sound from which the universe was created¹. The vibrations when chanting ‘Aum’ move through the body, aligning with the natural frequencies of the universe. These ancient practices are a testament to the power of sound as a bridge between the physical and the spiritual, the seen and the unseen, the human and the divine. 

In contemporary times, the theories of Quantum Physics resonate with the concept that everything in the universe is interconnected. It proposes that all particles exist in a state of vibration, and these vibrations keep everything in motion, essentially keeping everything alive. 

In my artistic practice I engage with natural materials like coal dust, sand or water. These elements, when animated by vibrations, give rise to artworks in video and print. I work in tandem with sound to produce specific imagery. This process reflects my desire to unveil the invisible, to connect to the otherworld, the psychic non-material dimension that seems to express itself through myth and symbolism.  

In the early stages of my artistic journey, I was working with materials that symbolise the Anthropocene – an era characterised by humans impact on Earth’s ecosystems, primarily through the use of fossil fuels. The combustion of fossil fuels has resulted in accelerated climate change and the disruption of ecological systems on an unprecedented scale. As an artist, I found myself drawn to these materials, coal in particular, and using them to explore themes of industrialisation, consumption, and environmental degradation. Rather than viewing these substances as mere catalysts of ecological disintegration, I perceive them as bearers of a divine potency. Coal, in essence, is the condensed energy of ancient flora and microorganisms, preserved over millions of years under intense pressure and heat. This process imbues it with a potent energy, the result is a substance that holds within it the energy of the sun, captured by ancient organisms through photosynthesis and locked away in their remains.

Contrary to coal’s destructive potential, I perceive this material as possessing a sacred power. It is not merely a passive substance but an active participant in my artistic narrative. Through my work, I seek to harness this inherent power, transforming them from symbols of destruction into instruments of change. Through this art-making process of infusing sound, coal  and intention, a ritual takes place, where the final artwork serves as a talisman, an invocation for change. 

Nodes Of A Collapsing Iceberg, Installation View, Visual Carlow, 2018

As part of this research I developed a process in order to visualise the sounds of a collapsing iceberg in the Arctic. The sound of a collapsing iceberg is a chilling reminder of our changing climate. The sharp, quick, and staccato rhythm of this sound, embodying the aggressive and explosive nature of an iceberg’s demise, guided the dance of the coal dust. As the sound reverberated, the coal dust was expelled in a burst onto the paper, creating unique patterns representing each second of the event, the end result is similar to a musical score. 

As I ventured deeper into my work I began to shift away from the negativities of our times and into a realisation of the magic of life and the interconnectedness of everything. It was a call back to the childlike wonder and reverence for the natural world that I experienced as a child. 

This realisation led me to the principles of the Symbiocene, a proposed epoch envisioned by environmental philosopher Glenn Albrecht, where he states “that  symbiosis implies an overall homeostasis, or balance of interests, since domination of one part or organism over the rest would lead to functional failure”  https://symbioscene.com/invitation-to-the-symbiocene/ 

In the Symbiocene, every strand of human culture, habitat, and technology is intricately interwoven back into the fabric of life. This vision resonated deeply within me, igniting a transformation in my artistic journey and guiding me back to the Barrow. I am now beginning to work with natural materials found along the Barrow such as sand, plants and water, in conjunction with sounds collected from the River. These inherent rhythms are guiding my artistic creation, symbolizing a return to nature and a step towards the harmonious coexistence envisioned in the Symbiocene.