Through the use of extended 'field recording'
techniques, Jez riley French’s work has focused on the creative possibilities
of durational and micro listening. Focusing on sounds normally either not
available to our naked ears or filtered out by our everyday response to our
sonic environment, he is constantly fascinated by sounds such as the resonances
of architectural structures and spaces, insects (terrestrial & aquatic),
the ultrasonics & electromagnetics of light sources, the infrasound of
the world turning and how we can also use extended recording techniques to turn
our surroundings into a seemingly infinite, ever changing set of filters for
generated sounds, composed, improvised or systems based.
Using intuitive composition, ﬁeld recording,
improvisation and photography, Jez has been exploring his enjoyment of and
interest in detail, simplicity and his emotive response to places and
situations for over 3 decades. Alongside performances, exhibitions,
installations, JrF lectures and runs workshops around the world and his range
of specialist microphones are widely used by recordists, sound artists,
musicians, sound designers and cultural organisations.
He also works as a curator of live events, a
record label, of sound installations and an arts zine ‘verdure engraved’. In
recent years he has been working extensively on recordings of surfaces,
spaces and situations and developing the concept of photographic scores
and ‘scores for listening’, which have featured widely in publications and
exhibitions. His work has been exhibited in shows and installations alongside
that of Yoko Ono, David Bowie, Pauline Oliveros, Chris Watson, Alvin Lucier,
Annea Lockwood, Ryuchi Sakamoto, Stars of the Lid, Jeremy Deller, Sarah Lucas,
Brian Eno, Signe Liden, Sally Ann McIntyre etc, at galleries including The
Whitworth Gallery (Manchester), Tate Modern and Tate Britain, MOT - Museum of
Contemporary Art, Tokyo (Japan), Artisphere (USA).
For the Hull, Capital of Culture year 2017 year in
the UK, Jez has created a number of works including the installation of
Icelandic recordings ‘the sound of the world turning’ for John Grant’s North
Atlantic Flux festival, and also collaborated with Jan Bang, Arve Henriksen,
Eivind Aarset & Opera North on ‘The Height of the Reeds’, an installation
based sound walk in the Humber Bridge.
He has been described, in an interview with the
British Library, as one of the most inﬂuential sound artists of his generation,
not only for his own creative work but also for his expansion of extended ﬁeld
recording techniques and modes of listening into key elements of the sonic arts,
ﬁlm, tv, radio, architecture & the games industry.
(Photo: Phoebe riley Law)