Artpark's Percussion garden
Located in the Lower Park (see map)
Each element of the Percussion Garden presents playful opportunities for visitors to explore the different ways to interact and produce sound while posing curious questions on the nature of a performance, music-making and relationships within the natural environment of the park:
Beat Blossom by Shasti O'Leary Soudant in collaboration with Cyro Baptista
SwingSet by David Cossin
Chime Tree by David Cossin
Earth Drums by Glenn Kotche
Scorpiotron by Dave Hind
Make it Rain TeeterTotter by Julian Majewski
Lawn Chair by Tanis Winslow, Stephanie Kowalski, Jasper Reese and The Adventure Department
The Percussion Garden has been made possible by a generous gift from the Charles D. and Mary A. Bauer Foundation.
by Cyro Baptista in collaboration with Shasti O'Leary Soudant, 2017
BEAT BLOSSOM is the product of a collaboration with famed percussionist Cyro Baptista, whose free-spirited, community-centered practice inspires its whimsical and colorful UFO-like appearance.
Additionally influenced by the Indonesian Gamelan, this structure's lively appearance encloses seven 'sound-making stations’ which invite multiple viewers into the center of the piece, offering them an immersive opportunity to engage in an ongoing collaboration with the artists by playing and experimenting with the various percussion instruments as an ensemble.
There is no wrong way to play BEAT BLOSSOM. Simply enter, and start banging, the more the merrier!
by David Cossin, 2016
"In creating works for this Percussion Garden, I wanted to create instruments and experiences that could be powered by various elements. Some of the instruments are people powered. They have a definitive beginning and end, or on/off switch. This particular instrument is powered by nature; specifically wind and rain. There is no definite human influenced beginning and end to the sound experiences of this instrument. Rather the sound experience is at the behest of the natural." David Cossin
by David Cossin, 2016
Photo by Pavel Antonov
SwingSet is an interactive sonic installation piece whose goal is to try to break the barrier between performer and audience and to present the question of what constitutes a performance. I want to invite the creativity of the perceiver by being both the performer and the listener. One of the main points to investigate is the idea of relationships. SwingSet has been conceived to explore the relationship between sound, time and space. The perception of the environment, the texture of the sounds and their timing, the visual impact of the shadows will be enriched and altered by the choice of an awakened participant. Can a specific sound take on the identity of an interval of time? The space and the structure of the piece will constantly be altered by the initiative (or the lack of initiative) of the public.
How to Play: SwingSet is an instrument and a composition that could take place at any moment and be performed by anyone (a never-ending piece). SwingSet consists of 10 large suspended aluminum pipes. There are clocks attached to each set, which consists of two pipes. The color of the suspended pipe (white or black/left or right) corresponds with the colored points on the clock. When the hand of the clock touches the colored points you may choose to strike (or not strike) the pipe at any dynamic (loud or soft).
David Cossin is a specialist in new and experimental music, David has worked across a broad spectrum of musical and artistic forms to incorporate new media with percussion.
David Cossin has recorded and performed internationally with composers and ensembles including the Bang on a Can All-Stars, Steve Reich and Musicians, Philip Glass, Yo-Yo Ma, Meredith Monk, Tan Dun, Cecil Taylor, Talujon Percussion Quartet, and the trio, Real Quiet. Numerous theater projects include collaborations with Blue Man Group, Mabou Mines, and director Peter Sellars. David was featured as the percussion soloist in Tan Dun's Grammy and Oscar winning score to Ang Lee's film Crouching Tiger, Hidden Dragon.
By Glenn Kotche, 2016
Photo by Pavel Antonov
An interactive experiment in archaic percussion and communication
As a percussion-obsessed high school freshman, I remember sitting in the school library reading the only book on percussion available, James Blades' Percussion Instruments and Their History. For some reason a paragraph on the origin of membrane drums stuck in my mind all these years. Blades posited the notion that the earliest membrane drums were most likely animal skins staked and stretched over holes in the ground for drying purposes that were then accidentally discovered to be useful for sound making.
I thought it might also be fun to incorporate the practice of using drums as a means of communication as well. This practice was particularly common along the Congo River in Africa where the high and low sounds of membrane drums would imitate the native tongues allowing drummers to send complex messages from village to village.
For this interactive exhibit, we've assembled two sets of drums - each with one low-pitched drum and one higher-pitched drum. I invite you to communicate between the two sets of drums via Morse code. For our purposes the low drum will be dashes while the high drum will be dots. Please refer to the charts for explanations on how Morse code works and for assistance in sending a simple message - or just enjoy banging on a buried drum. Please do not use the drums as a trampoline or table for drinks though!
Glenn Kotche is best known for his Grammy winning percussion work with the band Wilco. He has treated the drum set as a multiple percussion instrument including homemade instruments, pitched percussion, and various found objects. His other work includes writing music for Kronos Quartet, So Percussion, the Silk Road Ensemble, Bang On A Can All-Stars, and many more. Glenn Kotche: http://glennkotche.com/about
By Julian Michael Majewski, 2016
A very unique teeter-totter largely constructed out of recycled, repurposed, and scavenged materials. The piece was made to belong within the public space for people to use and interact with. In respect to viral culture and social networking, social indicators are provided in an attempt to direct the flow of images videos etc of those who interact with the piece.
OCAD University's graduate, Julian's work largely employs the use of prolonged interactions with an object that I have created, further transforming it and facilitating an adaption towards a new use. The common thread in my work is my own material investigation and experimentation. The aim is for a piece to have the appearance of functionality, made with raw materials; further becoming isolated as a product of fine art through its transformation and the association with artistic intervention. In that manner, my work could be viewed as creative visuals that depict contemporary inquiries. http://www.arthappens.ca/teetertotter-2013.html
by Tanis Winslow, Stephanie Kowalski, Jasper Reese, and The Adventure Department, 2016
Photo by Pavel Antonov
Lawn Chair is an interactive collaboration and site specific work that is meant to encourage the viewer to sit and relax in a seat made of sod. In making this work, comfort was at the core of construction. These sod sofas act as a cozy nest for those wishing to take a nap or as a meeting place for friends to sit and relax. Meditate, read a book or rest, this lawn furniture will provide the loveliest of places for your person. Enjoy the sounds of the Chime Tree overhead as you gaze upon the Niagara River.
Tanis Winslow has been the Director of Visual Arts and Family Programs for 10+ years. She is a photographer, a painter, a sculptor, an artwork installer, a teacher, and a mother of two. Her work has been featured in galleries of NYC, Buffalo, NY and Niagara Falls, NY such as, the Albright Knox Art Gallery, Big Orbit, Burchfield Penney, Castellani Art Museum, CEPA Gallery, Gallery MC, and more.