Underneath channels of communication are pulses and breaths—convergences of subtle sounds that oscillate and buoy. These vocal utterances form compositions that are often heard but rarely listened to. Her writing and altered texts can be read as translative scores for music and voice. They mark the currents, rhythms and patterns of communication.
Her sound installations and experimental language scores often use the gap, space, or breath in between speech—not as forms of negation, but as complex generators of meaning. These fragmented speech patterns attempt to locate the voice in the absence of language, a slippery form of communication that Roland Barthes has referred to as the grain of the voice, or what Wolowiec refers to as the thread of the voice—a tactile line that at once holds, separates, and connects.
For the exhibition, Wolowiec will spend a week in the gallery as a laboratory to record and produce a new sound installation including a range of vocals and a collaboration with musician Max Murray. This exhibition also includes a sensorial investigation with artist, musician and perfumer Tara Pelletier on a scent evoking the experience of the sea.