Yann Novak

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.

Novak's 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.


Artist Statement

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.