My art practice uses the soundwalk as a means to capture natural sounds in forested environments. A soundwalk can transcend the sounds that we hear in the environment – it can become a psycho-geographic layering of sounds heard in a space -- as well as the imagined sounds stimulated by the experience. This is reminiscent of the ‘dérive’ that Guy Debord (a situationist) wrote about in his paper ‘Theory of the Dérive’.[1] In relation to my current work in social isolation, these imagined sonic experiences have created nostalgic feelings for me and a longing for the sounds of the wilderness that I cannot experience at the present time.
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A soundwalk can be seen as an event that enables the artist's imagination and inner worlds to manifest themselves. A soundwalk can tap into the powers of spatial imagination while the artist moves through a forest space, for example. It becomes both a situation where the artist records sounds through creative activity and at the same time experiences a unique series of events.