COMPOSITIONS

ADDICTION 2017 //

Cello, Flute and Make-Up Artist. Scored on worn clothing.

ORIGINAL COMPOSITION Geoffa Fells

FLUTE Katie MacDonald

CELLO Lucy French

MAKE-UP ARTIST Morgan Schoonover

PHOTO Andreea Tufesca

'Addiction' investigated the impact of chronic heroin and alcohol abuse, both visually and musically.

The music was scored onto clothing and printed on in reverse so   that the performers had to read the notion via mirrors.

Performed in the studio theatre of the Guildhall School of Music and Drama, the make-up artist was instructed to cover any scars or wounds seen in the mirrors. Using foundation and plasters, she gradually coated the mirror surfaces. This obscured the the performers view of the scores printed on themselves, revealing silence.

OCTOPUS 2020 //

Flute, Electric Guitar, Trombone, Piano, Vocal Improvisation,

Electronics and Video.

Trigger warning - reference to sexual violence

 

Octopus explores the lives of survivors of sexual violence. It uses the metaphor of an octopus who blends its colours to match the deep sea environment to survive the waves and currents representing society’s misconceptions about survivors and pervasive rape culture. Inspired by survivors’ self-reported interoceptive drawings of how emotions manifest in the body as well as their accounts of the importance of creativity in healing, the piece shows a gradual growth from sounds and visuals about blending, hiding and surviving to ones about expression, confidence and communication. Metaphor and representation help to make this difficult, painful subject easier to discuss and interrogate. I chose the deep sea Octopus because it is an intelligent, perceptive and resilient survivor, able to withstand huge pressures and adapt to hostile environments. With survivors often facing disbelief or blame for not fighting back, the Octopus’s varied and colourful survival systems offer scope to show a full range of responses to trauma and validate them.

ORIGINAL COMPOSITION & VIDEO Geoffa Fells

FLUTE Ine Vanoeveren

ELECTRIC GUITAR Marcelo Lazcano

TROMBONE Thomas Moore

PIANO Umut Eldem

VOCAL IMPROVISATION Kate Smith

The deep seas are an under-researched, largely unknown territory, with 95 percent of the sea floor remaining unmapped. The dark and murky waters of sexual violence resonates with with this landscape. Strong currents of rape culture flow around us, often unseen and sometimes ignored, but affecting us all in some form. Through the piece, the staleness and suffocating nature of this culture plays out through breath holding sounds and moments of visual blankness. This contrasts with the sections about engaging with creative outlets and expression, which visually dissipate the the flow of rape culture, changing their course to form powerful, kaleidoscopic ripples of colour. When survivors are believed and supported, the narratives that act as the scaffolding to sexual violence are questioned and change course.

 

This piece is made with animated paintings, electronics track and scored instrumental parts and forms part of Geoffa Fells' 'Sounding Equality' PhD at the Royal Conservatoire of Antwerp. 

DOORS 2020 //

Voice, Trumpet, Electronics and Art Installation

Trigger Warning - Reference to sexual violence

 

A composition for spoken voice, sopranos and trumpets with an electronics track of recordings of the dragging and shutting of 14 different doors. Questioning some of the destructive elements that can arise when unrealistic and unfair expectations, pressures and views are held around masculinity.

 

This piece formed part of an installation along the dividing line between the girls side and the boys side of an old primary school. This piece played on repeat with the spinning of my colourful, gender-fluid windmills in the wind.

COMPOSITION, VOICE, TRUMPET, VIDEO, VISUAL ART - Geoffa Fells

BREAKING POINT 2017 //

Video, Electronics and two flutes, two violins and cello.

ORIGINAL COMPOSITION/VIDEO Geoffa Fells
FLUTES Katie MacDonald, Clara Yang
VIOLINS Beatriz Rola, Magda Barszcz
CELLO Lucy French

Breaking Point was performed live at the Barbican Exhibition Halls in November 2017 and was written to begin to lift the lid on the complexities behind surviving gender based violence, particularly in regard to the relationship with the self. Why do we project anger towards ourselves and why are we so critical of ourselves both now and in our analyses of our past selves?

The wine and glasses are used both sonically and visually to communicate pressure and breaking point, reflecting my research on stress, the fight/flight/freeze response and 'fractology'. Fractology is the study of 'how and why glass breaks' and looks at the pattern of glass breakage to find the cause of failure. The tiny surface in-discrepancies that influence breaking point and the resulting cracks and forking patterns resonated with my knowledge of the toll that abuse takes on a person or relationship and how it leads us to focus on tiny flaws in ourselves instead of looking the meaningful decisions and interactions we make every day.