APPRAISAL Gillies Adamson Semple
1 Dec 2020 - 20 Dec 2020
Pipes once belonging to an organ in rural Yorkshire, England, became obsolete at some point, rendered scrap metal, detritus and relics reminding us of the ‘King of Instruments’. This body of work started here; in an organ pipe scrap yard, found through eBay, and shipped down to my studio in London.
These pipes, while once belonging to a collective body, became untethered and mismatched, falling out of their ranks and series to become mute individual objects, with only the implication of their sonic past.
I am working to somehow recontextualise them, and give them body once again free from their expectation as this mighty instrument. Displaying them as elemental in a larger body of work, where they act as modular sculptural forms, has been enabling me to work through their capabilities as both a sculptural material - as
well as a sonic provider. In this presentation, they are displayed on floating aluminium plinths, almost reflective, enabling the pipes to be shown through the mirror image in their correct orientation. They are coupled with a hard drive, containing a sound work recorded in London’s ‘Holy Cross Church’ by St Pancras station. After dialogues with the church Vicar, this church has now become the site part of this research, with samples and recordings taken from within. These recordings all have been made during its closed door period over lockdown - on an instrument that replicates the sound of Praise, yet with no one to hear it. The hard drive is tethered to a speaker played via Rasperry Pi, that is hidden behind what I see as a stand in for the console found at the helm of an organ. The whole display is holistic. The upturned pipes listen to their past capabilities as an instrument, now muted but with strong aesthetic signification toward this life.