Zoë Irvine b. Aberdeen 1972
Zoë is an artist primarily working with sound, exploring voice, field recording and the relationship between sound and image. She is also a sound designer for moving image and a lecturer in sound for film and sound art.
Her artworks range from carefully crafted individual pieces for broadcast and installation, to participative events. As a field recordist, Irvine has a particular love of soundscapes and composition in which distance, context and power relations become perceptible.
Her large scale works include DIAL-A- DIVA, a global 24 hour live phonecast concert experienced by phone that took place in 2005 & 2007, and Magnetic Migration Music a suite of works over a 10 year period exploring found cassette tapes from all over the world.
From 2013 – 2015 Irvine was artist in residence at the Scottish Parliament, collaborating with composer Pippa Murphy.
Recent work includes:
Workers Union, collaboration with Rebecca Milling and Alice Nelson. 20min film multi-screen installation for Red Note performance at Lammermuir Festival, Museum of Flight. 2016
The Edible Pet, 45min radio feature, commissioned for Radiophrenia 2016
House Arrest: Domestic Actions (work in progress), an audio visual installation piece in collaboration with Pernille Spence as part of The Motherload at The Hannah Maclure Centre Dundee 2015
Your Voice is You, a telephonic self portrait, Kirkcaldy Museum and Dublin Science Gallery (available by telephone in UK and Ireland) 2015
Šuma a sound walk for voice and FM transmission with Kutchke, Balkan Choir, created for Sanctuary Festival 2015
Democratic Resonance, sound installation, collaboration with composer Pippa Murphy, Festival of Politics, Scottish Parliament 2015
As a sound designer Irvine has been involved with a wide variety of film, TV, radio and installation work. She is currently establishing Eggbox, a post production partnership in Edinburgh – Rebecca Milling (edit) and Zoë Irvine (audio).
Zoë Irvine delights in working collaboratively and lives in Edinburgh with her partner and their children.
I have some great collaborative working relationships, here are links to some of the wonderful people I’ve been working with
Mark Vernon – meagreresource.com
Pernille Spence – http://www.pernille-spence.co.uk/
Rebecca Milling – http://rebeccamilling.com/ & eggboxpost.com
Alice Nelson – http://alicenelson.org/
Kuchke – https://soundcloud.com/kuchke-edinburgh
Pippa Murphy – http://pippamurphy.com/
Helen Douglas – http://www.weproductions.com/
I am a member of Ethel Maude, a collective of artists, designers and filmmakers in Edinburgh. http://www.ethelmaude.org/
I have a long involvement with teaching sound, most notably as a University lecturer, for many years at Duncan of Jordanston College of Art and Design where I was lecturer in sound (2006 – 2014), and now with Edinburgh Napier where I teach sound for BA and MA film students and at ECA, where I annually teach a project as part of the Sound Design Masters course.
Teaching is a shared voyage which I love. Whether I am introducing people to an area they have not explored before or helping to extend existing skills, knowledge and appreciation for what sound can bring to work, it is a process I delight in and am energised by.
I design and deliver practice and theory workshops in sound design, sound art, radio and film. I develop projects and curriculum in a wide range academic, industry and community settings for individuals, group work and lecture halls.
I am currently researching under the banner ‘Dialogue, Voice, Privilege and Power’, this develops from my work as artist in residence in the Scottish Parliament (2013 – 2015) and now I am exploring this in short film works (work in progress) which use sound design and ADR (dialogue replacement) as ways of interrogating power dynamics. A context for this research is women in sound post-production, the Raising Films movement and the politics of film production.
I also continue to explore recorded conversation, field recording, modes of listening, navigating sound archives and audio data bases in a context of sound and radio art.
I am in the process of setting up a sound post-production studio, Eggbox Audio which aims to support early career filmmakers, filmmakers/ caregivers and women in sound recording and audio post in Scotland. It is due to open towards the end of 2017. I envisage Eggbox Audio as a form of practice based research as well as a functioning studio.
A note on what research means to me as an artist and practitioner
Like many artists involved in academia I have a practice of research. It has it’s own language and is a currency in an economy of it’s own.
I heard about ‘practice based’ research as a student at Wimbledon College of Art in the early ‘90s. It was a new idea. Later when I was a masters student at Goldsmiths I was lucky enough to have two extended tutorials with Susan Hiller. Her concept of art as research was utterly inspiring. Now, many years and 3 cycles of RAE/REF later I am have been refreshing my thinking on art as research and what that is for me beyond institutional requirements, research funding and academia.
Of course a sense of researching is core. When I am working I am always exploring something, finding the best way to go into something for myself and then those that may share an experience of the work whatever form that takes. There are many ways to create and share knowledge and many types of knowledge to share. Some of my encounters with art and films have been profound, not in a didactic way, not in a way that could be contained in explanation, but valuable, unmistakable, essential. This is what I am aiming for when I talk about my work as research.