Below are a selection of moving image / audio pieces in chronological order of completion. Most recent first.
Engrossed in a digital world we turn around a small internal axis. Meanwhile, a larger world in perpetual motion revolves outside. The music for this piece is from Glazier's album 'The Wind in the Sap'
The music for this piece is from Glazier's album 'The Wind in the Sap'
THE WIND IN THE SAP
Created from photographs made over many years around a small parcel of woodland where Glazier has frequently walked since childhood. The music is from Glazier's album 'The Wind in the Sap'
Day Upon Day - live at Orgelpark
Glazier, together with other members of Monoták were invited to compose new pieces for Het Orgelpark's wonderful collection of antique organs. This is a recording of the live performance of the piece 'Day Upon Day', an ode to the island that Glazier has visited regularly since 1978.
My homage to the film maker Antonioni. I performed this live on various occasions with Thomas Myrmel. Both the audio and visual material is created from samples from the first ten minutes of Antonioni's Red Desert.
Afro Samurai Afternoon
A view from my window one afternoon accompanied with music from my album Long Breath.
Amongst other things this is about the way light can both elucidate and obscure.
Amongst other things this is about the way light can both elucidate and obscure.
Gently Down The Stream
This is a short video I put together for a concert with the composers group Monoták to which I belong. We were each given a couple of themes chosen randomly around which to create a new piece. My theme was music of the future. Rather than try to predict I chose to look at how people in the past envisioned their future. So I had fun trawling the internet for some good images and together with their soundtracks came up with this collage.
'Aan Louise' - with subtitles
‘Aan Louise’ was filmed around midnight on New Year’s Eve 2014. It commemorates the First World War by following the cards two Belgian soldiers, George and Jules, at the Front Line wrote to their sweetheart Louise. The sounds of fireworks create an eerie echo across the hundred year divide. For those of you that don’t understand Dutch the messages are very warm but formal, largely concerning the exchange of postcards and pictures of each other. Gradually, however, you sense an underlying desperation emerging, and Jules eventually states that Louise could not imagine what they were going through at the Front.
'...and he fell instantly' - performed by Looptail
The video projection in this piece is ‘… and he fell instantly’ that was made for an exhibition in Bruges, Belgium, commemorating the First World War. The original video is about the subjective experience of time and is intended to loop indefinitely. It plays with how we measure time with markers - seconds, hours, years - but how the intervals seem to expand and contract, how events from 100 years ago can suddenly find an echo in the present. For this concert with the composer's collective Monotak I wrote a score for the ensemble Looptail, that weaves through the original structure of the video loop. With special thanks to Wilbert Bulsink.
... and he fell instantly
‘… and he fell instantly’ was made for an exhibition in Bruges, Belgium, commemorating the First World War. The piece is about the subjective experience of time and is intended to loop indefinitely. It plays with how we measure time with markers - seconds, hours, years - but how the intervals seem to expand and contract, how events from 100 years ago can suddenly find an echo in the present.
A change in the weather
Rehearsing for the big event as a storm brews.
A young girl in her own world dances with her own reflection. Many thanks to Eleanor Van Rooyen.
Triptych presents a domestic space in three vignettes each connected through sound. By keeping the action to a minimum the viewers attention is drawn to the details of sound, drawing them through the space and finally to the busy world outside. Triptych, in all its stillness, is all about movement - from the smallest breath to the dance of traffic on a busy road.
A section of my Triptych piece.
Wordless - conversation #01
Specially made for my solo exhibition 'Dialogues' I made a series of videos exploring the possibility of having a conversation with only children's building blocks and elastic bands.
This video is about the impossibility of truly communicating our most intimate thoughts. It seems we always cast a shadow, not only when expressing ourselves but also when listening.
Repetition - till dusk
When Eleanor, my niece, improvised a dance for me, with many repetitions and variations, I knew I wanted to develop it further. I showed the recording to the dancer/choreographer Marianne Langenegger and together we developed this parallel choreography. The creative spontaneity of the original dance is contrasted with Marianne's more staid and introverted movements. Although the movements echo each other Marianne's are clearly those of an adult, if a slightly neurotic one. In this version of 'Repetition' the emphasis is more on the sense of duration, with the protagonist seemingly trapped in her routine as dusk falls.
Repetition - persistence of memory
When Eleanor, my niece, improvised a dance for me, with many repetitions and variations, I knew I wanted to develop it further. I showed the recording to the dancer/choreographer Marianne Langenegger and together we developed this parallel choreography. The creative spontaneity of the original dance is contrasted with Marianne's more staid and introverted movements. Although the movements echo each other Marianne's are clearly those of an adult, if a slightly neurotic one. This has also been performed live.
SKIN - body of vapour
In the video SKIN - body of vapour the original film of my hands massaging various people is projected this time onto steam. This once again examines the elusive nature of sensation, this time emphasising the ephemeral nature of surface.
In the video SKIN I took the original material that I recorded whilst massaging various people and projected it upon my own body. SKIN examines the elusive nature of sensation and touch. There is communication, something crosses over, but a lot of the experience takes place in the subjects' own inner worlds. Having resisted the idea of adding music to Skin for a while I finally decided to do so. I wanted to strengthen the rhythms and sense of flow in the images. Since both the cello and singing bowls are brought to resonance using rubbing motions the sounds seem to connect with the friction of skin on skin well. I played both instruments, improvising whilst watching the video.
LAND is composed from recordings made during my travels through Tibet in 2005. However long one stays in a land one only ever experiences fragments of the whole. In this short video (30 minutes) I try to tie these fragments together to give an impression of the interplay of the various elements and tensions evident in this land of contrasts.
In 'Bright Noise' I investigate further the viewer’s tendency to synthesize various sensory inputs - the way that audio input also effects the perception of visual input and vice versa. This is a development of ideas previously pursued in videos such as 'Yellow Brick Road Works' and 'Journey to Fuga' but then removed from a narrative context. I was also interested in investigating sounds on the periphery of perception. Rather than just making a very quiet piece I decided to raise the threshold, with a wall of white-noise through which one can just perceive variations in textures and cadence. In this way I again focus on the point at which a pattern crystallizes, drawn out by the brain’s thirst for finding order.
Yellow Brick Road Works
This piece started it's life in 2003 with its first live performance. Then followed a 98 minute version (the length of the original film) for a surround sound installation, and then this one which is 57 minutes long. All the material in this work, both audio and visual, was drawn from the classic 1939 film ‘The Wizard of Oz’. Taking a magnifying-glass, both literally and figuratively, to the original film ‘Yellow Brick Road Works’ examines the building-blocks of this icon and unfurls a new road to Oz and back.
Journey to Fuga
'Journey to Fuga' was composed from recordings made in the Philippines during a journey to the remote island of Fuga in 2004.