Art & Installations
Collaborating with Turner Prize-nominated artist Rory Pilgrim
Seraphina has worked as a vocalist with Turner Prize-nominated multi-disciplinary artist Rory Pilgrim on two exhibitions, forming part of a live choir for RAFTS (Serpentine), and recording a four-piece vocal score for immersive installation pink & green (Chisenhale Gallery)
Turner Prize-nominated project RAFTS is the second chapter in a body of performance, film and sonic work exploring how the climate crisis relates to support structures in our everyday lives. Commissioned by Serpentine in partnership with Green Shoes Arts, Barking and Dagenham Youth Dance, Project Well Being (Interfaith Sanctuary, Boise, Idaho) and London Contemporary Orchestra
RAFTS
Cadogan Hall
pink and green
Chisenhale Gallery
An immersive exhibition that explores the emotional and ecological impact of the law. Following long-term engagement with communities based on the Isle of Portland – a small island in the English Channel, home to two architecturally dominating prisons, and a natural landscape under ecological threat – a new screenplay is brought to life through drawing, sound and light.
A soundtrack of new music and poetry plays throughout; composed by Pilgrim and the learners and facilitators at Weston College, and performed by singers and recorder players.
A sound installation by sound artists and experimental musicians DDS.
Caving is an investigation into archaeoacoustic histories of resonance and how the relationship between sound and space can allow access to the divine. The sound installation is a negotiation between the acoustic properties of The Swiss Church and its resonant frequencies to create complex harmonies and resonant entanglements
“Scores were created for vocalists to guide, attune, and respond to; however, Caving would not be considered as composed… The installation was conceived as a negotiation between acoustic properties of the building and resonant frequencies it possessed, harnessing these complex harmonies and resonant entanglements. The installation drew on archeoacoustic research and the ancient echea, or acoustic vases; vessels set within walls and ceilings of amphitheatres and sacred spaces altering, and by design, enhancing acoustics.
Utilising the science of extracting sonic information connected to the resonant frequencies, the artists identified and experienced standing waves that many acoustic engineers attempt to eradicate. Once the readings were calibrated, they were used as a basis for the ‘score’. The space was therefore activated by the inter-play of these frequencies and any mild fluctuations or slight mismatches of sounds would create an almost over-powering experience of a beating frequency.” - Clot Magazine, Sept ‘23