Saturday 25 May
Please join Jason Wright, Emi Pogoni and Blake Johnston in discussion on the last day of Wright's exhibition rauropi I II III.
Intersections sees three sound artists in discussion, exploring the nature of sound between three distinct mediums: art, installation and theatre design.
Using their own work as provocation they’ll look at the differences in concept and approach to those mediums and how they intersect. As well as exploring specifics of the work they will touch on some of the practicalities and challenges involved specific to each context.
Tea and coffee provided.
About the artists
Emi Pogoni is an artist based in Te Whanganui-a-Tara/Wellington freelancing in sound, music, design, and events. She enjoys working alongside contemporary dance choreographers as a composer, and as a sound designer/music director for theatre, creating evocative sound worlds for performance to inhabit. She often uses a maximalist dynamic range, repetition, long fades, and plays with referentiality and diegesis to extract as much as possible out of a minimalist sound palette.
Recent projects include Once There Was A Woman (Sound Design; Te Auaha, March 2019), Jacinda (Sound Design/Music Direction; Actors’ Programme Graduation Show, Basement Theatre, November 2018), Orientation (Music Direction/Sound Design; Q Theatre, August 2018; Most Original Show, Auckland Theatre Awards 2018), Burn Her (Sound Design with Blake Johnston; Q Theatre, August 2018; Excellence in Overall Production, Auckland Theatre Awards 2018), and Elliptical Fictions (Composition; various tours, 2018-2019).
She holds an Honours degree in Sonic Arts (Te Kōkī New Zealand School Of Music, 2012), and a Graduate Diploma in Spatial Design (Massey University, 2016).
Blake Johnston is a New Zealand sound artist, technologist, academic, and composer who recently completed his doctorate at Te Kōkī, The New Zealand School of Music, Victoria University of Wellington. His practice sits at the boundaries of experience design and emerging forms of technology, synthesising these two fields to explore a new artistic approach developed in his doctoral thesis. This new approach, coined the metaperceptual approach to sound art, seeks to create extraordinary experiences and environments that invite the audience to explore their own perception. The audience’s unique subjectivity is the core focus of the approach, with the audience’s presence and perspective co-creating the artworks with the curated environment. The metaperceptual approach is able to create introspective experiences; interactive in a way that gives the audience control over their navigation of the artwork, gallery environment, and their own senses.
His works have been exhibited locally and internationally, including a solo exhibition in 2018 at Toi Pōneke, Wellington, New Zealand, and his work Your Hearing Them featuring at the 2017 International Symposium on Electronic Art in Manizales, Colombia. Internationally, his works have been performed and exhibited in Australia, Colombia, United Kingdom, Hong Kong, United States of America, and Greece. He has given artist talks at the Australasian Computer Music Conference and the International Symposium on Electronic Art. Locally, he has performed and/or exhibited at the Adam Art Gallery, The Dowse Museum, Bowen House Gallery, Toi Pōneke Arts Centre, and Wellington City Gallery.
Jason Wright is a Wellington-based composer and sound artist working across dance, theatre, film and installation. A graduate of Te Kōkī New Zealand School of music, Jason holds a Master of Music in Sonic Arts and Composition.
Creator and curator of the Low Noise Exhibition series, Parliament 2013, Toi Pōneke 2015; these group shows also featured his latest sound works Installation for Inward and Outward Facing Speaker Cones and Black Series. Some of his other recent sound installation work includes, Jukebox at the Adam Art Gallery 2011; Interview with Mute, Matchbox Gallery 2012; a collaborative installation When Bertha Sings, Nyco Chocolate factory 2013; Black Series II, The Auricle 2015; sound design for Muscle Mouth’s multi-media installations Tiger and Another Garden at Enjoy Gallery 2015 and his latest works an Artifact of Mass, Audio Foundation, 2016 and Organics I+II, 2018.
Working with dance, Jason has composed music for Strive, Footnote Taster Series 2013; Just Bet/ween Us, Choreo-co 2015. As well as composing, he performed in eye, produced by Brothers & Sisters Collective, featuring in the Fringe Festival and Tempo Dance Festival 2014.
A key collaborator with choreographer Ross McCormack, Jason created the music for SEX, Footnote Dance 2012; Rāhui, Unitec Dance Showcase 2012; Area, Unitec Dance Showcase 2015, Visions of Salome, M1 Contact Dance Festival Singapore 2015; Preface: Homage to a Risk, NZSD 2015 and Matter, New Zealand Dance Company, 2016.
As a part of dance-theatre company Muscle Mouth, Jason produced scores for AGE, New Zealand Festival 2014, their acclaimed production Triumphs and Other Alternatives, 2015 and The Weight of Force, Hong Kong Arts Festival, M1 Contact Dance Festival, 2016 and Borderline – A double-bill collaboration between Muscle Mouth and T.H.E Dance Company Singapore, M1 Contact Dance Festival, 2017; System, Tempo Dance Festival, NZ Fringe Festival, 2019 and As It Stands, a new commission from the Auckland Arts Festival, 2019
Work for theatre includes Shu’s Song by Capital E National Theatre for Children (Nominated for Best Music Composition, Wellington Theatre Awards), 2016; Versions of Allah by Ohokomo productions, Kia Mau festival, 2016 and The Fence by Brothers & Sisters Collective (Nominated for Best Sound Design, Wellington Theatre Awards), 2016; Sound Design for World of Wearable Arts, 2017; Force Field by Everybody Cool Lives Here (Winner of Best Overall Production Design, Auckland Fringe), 2018; Odd One Out by Capital E National Theatre for Children, 2018; The Two Gentlemen of Verona by Toi Whakaari, 2018 and Night Moves by Julia Croft and Nisha Madhan, 2019.