Martin (b. 1981) is a British artist with an interest in sound and language and their relationship to listening and meaning. His practice centres around experimental composition and improvisation but is demarcated by a wider and more nebulous border, and is defined by the search for it. There is an economy to much of his work, which is often contingent upon reciprocity.
He is currently researching relationships between auditory and visual perception and new ways of employing the primary devices with which we write music. His compositions have been performed by musicians from around the world while his work has been shown at The Barbican Centre, Modern Art Oxford and Arnolfini, and used commercially by Tate. He lives and works in Japan.
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Listening entails an unbiased correspondence with sound. We might find ourselves compelled to record what we hear. Various tools are at our disposal. We often harness the visual to project the abstract of the sonic. Distortion and error may be inherent to the process, but approximation creates interesting spaces between the actual and the abstracted. We endeavour to explain ourselves. Delineating highly subjective experiences is bound to be inadequate. This is especially the case when we factor in tinnitus, a phenomenon that is by its definition totally subjective. How can we sufficiently communicate a singularly private occurrence such as tinnitus? Tinnitus frustrates the subjective figure ground relationship. It is a broken mirror that places your corporeal self - your figure - at a degree of removal similar to that of the ground. Rather than a figure in the ground, one becomes a ground within the ground. It naturally leads one to question who the observer is.
"And what do I point to by the inner activity of listening?"