Artist Statement

Drawings

Loops and Fields is a collection of drawings that resonate sympathetically with the electromagnetic fields within the gallery. Delving into the relationships between physical principles and the chaotic nature of the hand drawn line, these drawings are an exploration of conductive materials and the possibilities for drawing electronic components. When connected to a sound system these drawings make audible their interior activity and reveal the energy that exists in the immediate environment.
An electric hum pervades the gallery – a low static vibration – like inputs incorrectly plugged. It is the sound of unanchored energy amplified, open to the potential for articulation. Like an open channel it sounds available for use, as if existing at the brink of articulation. Deriving from the Greek – energia, an ‘activity or operation’ – energy is a quantity that can be assigned to every particle, object, and system of objects. Energy is created as a consequence of the state of these particles or systems, and despite the seeming certainty of their categorical definitions, any form of energy can be transformed into another form. As a universally occurring transformative process this possibility for movement on a particle level highlights the mutability of all things, regardless of scale.

• Joyce Hinterding produces works that explore physical and virtual dynamics. Her practice is based on investigations into energetic forces, through custombuilt field recording and monitoring technologies. These explorations into acoustic and electromagnetic phenomena have produced large sculptural antenna works, experimental drawings, video and sound-producing installations and experimental audio works for performance. She often collaborates with artist David Haines to produce large-scale immersive video and sound works that explore the tension between the fictive and the phenomenal. Joyce lives
  and works in the Blue Mountains, Australia and is represented by Breenspace, Sydney; her audio work has been released by Antiopic.

Full text (PDF) p. 48-53