A Kettle of Fish
24 September – 13 October, 2018 The Yard Theatre, London
Writer - Brad Birch
Director - Caitlin McLeod
Designer - Ingrid Hu
Lighting Designer - Joshua Gadsby
Composer and Sound Designer - Max Pappenheim
Video Designer - Tegid Cartwright
Stage Manager on The Book - Devika Ramcharan
Production Manager - Seb Cannings
Casting Director - Ruth O'Dowd CDG
Assistant Stage Manager - Isobel Eagle-Wilsher
CAST
Lisa - Wendy Kweh
Photography by Helen Murray
She’s on a plane. She’s 30,000 feet in the air. And on the ground, back home, an emergency is unfolding.
Lisa is on her way to a new country for her work. She has spent months learning. She’s read the books, she’s watched the YouTube videos. She knows this business.
But something has happened thousands of feet below, hundreds of miles away. A disaster. A tragedy. Something that prompts her to question what is more important to her; where she has come from? Or where she is going?
Setting the story against a multi-layered visual language involving three symbolic spaces, A Kettle of Fish is a multi-media performance experienced through an immersive and intimate sound design.
Deconstructing Patterns
Exhibition design
The Francis Crick Institute
Deconstructing Patterns provides a glimpse into three intricate developmental patterns studied at the Crick, each one introduced by a unique artwork. The art commissions were developed through extensive conversations and close collaborations with researchers, and the resulting artworks offer alternative ways of exploring and describing the microscopic patterns that so intrigue scientists at the Crick. They take the form of a poetry and soundscape piece by poet Sarah Howe and composer Chu-Li Shewring, a sculpture and film by artist Helen Pynor and a film created by a young filmmaking group called KaleiKo.
Leading Studio Prelude’s creative direction, Ingrid worked with the curator and various team members within the institute from an early stage, actively involved in the development of the exhibition content and visitor experience. A bespoke hanging system enabled exhibits to be raised and lowered from above, making use of the gallery’s high ceiling while providing flexibility for regular events that take place in the gallery. A series of sound pods inspired by DNA patterns offer an immersive experience for the poetry and soundscape. Science stories are presented alongside interactive elements such as audio recordings, videos, microscopes, peep holes, and glossaries.
CHORUS I, II, III
Acylic, insect pins, balsa
25.2 x 35.2 x 7cm
2017
A triptych of synaesthetic impressions of an evening at a Russian choir performance.
The attempt to relive the experience led to the experimentation of a method of making that would allow me to transcribe the vocal performance visually. As someone who is involved in the creation of a performance, the reinterpretation of one art form – in this instance singing – to another, opens up a new way of creating work. Materiality and colour play an important role in my work, but I am drawn to the simplicity of using one material, in monochrome, to focus on the sense of volume and space that I experienced.
Photography by James Whitaker
