Yann Novak is a sound artist,
composer, designer and the curator of Dragon's Eye Recordings. His
compositions have been published by Dragon's Eye Recordings (US),
Dulcett Records (US), The Henry Art Gallery (US), Infrequency (CA),
Mandorla (MX) and smlEditions (US). His work utilizes different forms
of digital documentation as a point of departure. Through the digital
manipulation of these sound and image files, his works serve as a
translation from documents of personal experiences into new
compositions fueled by the original experience.
installations and performances have been presented internationally at
prestigious events and venues including American Academy in Rome (Rome,
Italy), Blim (Vancouver, BC), Decibel Festival (WA), Ersta Konsthall
(Stokholm, Sweden), Fiske Planitarium (CO), Henry Art Gallery (WA), Hit
Art Space (Gothenburg, Sweden), Kasini House (VT), Lawrimore Project
(WA), Los Angeles Contemporary Exhibitions (CA), Mutek Festival
(Montreal, QB), Seattle Lesbian and Gay Film Festival (WA), Soundwalk
(CA), Suyama Space (WA), TBA Festival (OR) and Western Bridge (WA).
As a result of these endeavors, Novak had been invited to numerous
Residencies including Environmental Aesthetics Residency (WA), Espy
Foundation Residency (WA), and Kasini House Studio A Residency (VT)
In recent years Novak has collaborated through select installation,
performance and recorded work with Gretchen Bennett, Brittle Stars,
Crispin Spaeth Dance Group, Jamie Drouin, Marc Manning, Brian Murphy,
Alex Schweder and Tiny Vipers.
As an artist I manipulate
sound recordings to create both a psychological as well as physical
experience for an audience. I am most interested in the emotional
effect audio recordings have on me, from the initial moment of
identifying a unique sound source to the act of recording and playback,
and seek to convey that narrative to my audience. Through various
methods of analogue and digital processing, these field recordings are
transformed from documents of personal experiences into new
compositions. My process is one of elimination and reduction; rustling
leaves, car horns, birds chirping and other environmental sound are
carefully shaped and composed into complex soundscapes. The final form
of my work may be realized as a performance, installation, or
recording, with the common thread connecting each piece being the
intuitive and emotional narrative guiding my compositional process.
Each work is an exploration of presentation, performance, and
composition, not to just be heard, but to be experienced.
Live Performance Description
My live performances utilize the same techniques as my recorded or
installation work: transforming a simple environmental recording into a
richly layered, and emotionally tense composition. Since each or my
works is constructed out of numerous variations on a single recording,
my performances are composed from a library, unique to that piece, of
pre-processes and altered sounds. Through this process my performances
can take on aspects of my recorded or installation works, while
maintaining the flexibility to adapt to unique venues, situations,
environments and the audience.
My performances are also adaptable through their presentation.
Generally I will perform in stereo, but when possible, my performances
can be expanded to up to 6-channel surround. My performances utilize
darkness as a visual queue to draw the audience into a deeper listening
experience. However, in some cases, video will be utilized as a focal
point if the piece was originally conceived with a video element. Both
of these elements can be discussed with the organizer and are
expansions on the basic elements of my performance.