Lüsenen…sound-installation Gloucester Cathedral

Lüsenen…sound-installation Gloucester Cathedral

time for an update…

Over the last few weeks I have visited the crypt…each time noticing more qualities in the different spaces.

Simon and myself have been listening to a few recordings, randomly selected.

Elle singing into the font in the second chamber (amazing reverb!)…a recording of my heart beating (bit scary:-)) and as we were listening ideas started to develop…to create and layer rhythms…to have silences.

As I am writing this we are in the final preparation stage for this sound-installation…

Sound-Installation in the Crypt of Gloucester Cathedral

October 31st, 1st& 2nd November 2019, 6-9pm

Each chamber in the crypt of Gloucester Cathedral has unique acoustic qualities.

Ann-Margreth Bohl sculptor and installation artist https://www.annmargrethbohl.com/about/

is collaborating with a team of musicians/ composer/ sound designer and a sound engineer to discover, record and transform sound qualities discovered in the crypt culminating in a sound-installation.

Eleanor Holliday https://naturalvoice.net/practitioner/eleanorholliday

Simon McCorry https://www.simonmccorry.com/home

Sid Wells https://www.thesoundagency.com/team/

Through several visits to the chambers…singing, playing the cello and recording some of the crypts resonance a library of sounds has been created by holding on to acoustic surprises and treasures found.

Over the coming months this collection is revisited and edited to form abstract sound compositions, installed in the crypt.

The visitors to ‘Lüsenen’ are invited to listen and connect with the crypt in unexpected ways.

As participants move close or further away the sounds naturally change, creating a individual experience for everyone.

Each chamber will house battery run speakers emitting sound.

‘Lüsenen’ / to listen/ middle high German spoken 1050 and 1350

Foundations of crypt at Gloucester Cathedral were laid in 1058

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Some time has passed since my last post….a good moment for me to gather up thoughts that have come up whilst drawing to sound.

What is the difference between a sound/ sounds and a song?

How do I manage to not run before walking and how do I manage to find boundaries that are helpful in this unlimited material.

I am thinking about rock and how solid, old and heavy it is.

Full of matter.

Sound is much more similar to light in as such that it does not weigh but yet has the power to touch us deeply.

Can sound inspire form?

It does by forming sound waves which are when put through a medium full of geometry and symmetry. How do I respond to sound when it is put through me? That is what I want to find out.

As mentioned in my previous blog post I have started to listen to birdsong, recording it collecting it, drawing it…perhaps over time I will find out how sound behaves in me?

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Birdsong…will it form part of the sound-installation? Or is it perhaps a different project all together?

Not sure what it is about birds, did I ever really listened to them?

I was always sure of them being there and all of a sudden I feel alarmed that perhaps one day soon they might not be around anymore.

I listen to birds and I am not sure which birds they are, I recognise a blackbird a robin and a crow for sure, seagulls also.

I listen and draw, focusing on the rhythm and the richness of sound, if it is round and soft or a little sharper…

I overlay my marks if the song is repeating itself.


I am finding myself being experimental, open and playful.

Enjoying to be inspired by a new discovery ‘the voice of birds’.



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'Borderland' Simon McCorry

‘Borderland’ Simon McCorry

A few months ago Simon send some of his new compositions out on social media long before the album release.

I am a big fan of his music and listened to some of these brand-new pieces of beautiful ambient, spacious, calm yet alerting music and felt moved to draw whilst listening…imagining the bow stroking over the strings, creating layers of movement, vibration, sound, echoes and internal spaces…creating space is for me a strong quality of Simon’s music.

Music that makes space rather than taking space.

Those of you familiar with my work, this drawing is quite different to many others at the time. I got in touch with Simon that day as I wanted to share with him my response to his music.

To cut a long story short…this drawing is now, as you can see, the album cover for his newly released album Border Land.

If you had a chance to read my recent blogs…Simon is now playing the cello in the upcoming ‘Sound-Installation’ in Gloucester Cathedral…

‘Border Land’ is now available on band camp, let me get the link for you…there you go


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Natural Sound…

Natural Sound…

I spend the last few days in Pembrokeshire, right by the sea, listening to purely natural sound, perhaps the odd tractor of a nearby farm.

Natural sounds that I became aware of were the wind, birdsong, waves, water ‘licking’ rocks in the sea as water spiralled in a seesaw motion around them.

Every now and then when the path dipped low inside the land, the sound of wind stopped…momentary stillness rising…birdsong and the watery rhythm gaining clarity.

These sounds have something soothing, even the wind whilst up on a cliff.

Absence of human activity.

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Sound-Installation…press Start

Sound-Installation…press Start

Big day…the whole team ‘Sound-Installation-Gloucester-Cathedral-Crypt’ met in the crypt, slyde, whispering gallery of Gloucester Cathedral thanks to Helen Jeffreys our contact to the cathedral we were able to freely start exploring sound, song, voice and the acoustics of a variety of those special places.

My brain was fizzing by the end of it all, filled with new discoveries and the excitement to start this journey with fellow collaborators Simon McCorry, Eleanor Holliday and Sid Wells.

All of us bring a variety of tools to this and together we are now developing what is going to be a sound-installation to be experienced by many later this year.

Simon a fantastic cellist unpacked his cello soon after we arrived in the crypt and Elle had her beautiful strong voice on the ready, soon the crypt was filled with sound, harmonies, discords. I let it all flow through me, the door into a new way of hearing opened wide. Sid, expertly putting sound-scape-samples on a speaker to test the quality of sound that was emitted and how different rooms and positions within the room alter sound.

Ideas bubbling of how algorithms can be worked out for the installation, practicalities of where to position speakers….Whilst Elle’s voice and Simon’s cello animate the walls and spaces around them.

So now is time to trust that the path is unfolding bit by bit.

Exciting times ahead!

Press Start

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