Kelly Jayne Jones is a Manchester based artist making work that combines performance, installation and sound. She is interested in creating a multi-sensory experience that creates possible conditions for communication and exchange. Creating contemporary zones bordering science and quantum fictions. Her work traverses the emotions of desire and anxiety, the comfortable and uncomfortable edges of our inner spaces and social co-existence. She is interested in presence and performance as a site for potential transformation; interpersonally and communally. She has has been commissioned for works with various projects at dOCUMENTA13, Tate Modern, ICA London and CCA Glasgow, Trieze Gallery Paris, Borealis Festival & Kunsthalle Bergen Norway, Tectonics contemporary music festival, Hangar Bicocca gallery Milan, the Huddersfield contemporary music festival (hcmf//) and Sheffield Site Gallery. She performed recently with Claudia Molitor and Tullis Rennie at hcmf//2018, has a collaboration piece with Haris Epaminonda currently installed at Venice Biennale 2019.
Full of Noises 2019
This is a project exploring music, geology and ideas around conditions to connect communities. The project draws upon Cumbria’s ‘musical stones’, including John Ruskin’s 1884 lithophone, to create a new work in the form of a unique interactive electroacoustic piece featuring rock sounds but not exclusive to. I have developed a unique acoustic-digital instrument using slate, various rocks and digital processing. I am able to reach new audiences referencing electronic music cultures, sonic and performance arts. There is an ancient history using stones in music, the instruments in Coniston have a unique sound and story that connects people to the land and to many musicians and composers who have written and played these stones. They have mostly been explored playing them onsite, I propose to take these sounds to different locations by sampling them and also creating a unique instrument. I plan to explore the ancient fascination humans have to stones, their use in ritual gatherings and spiritual connections. This will lead a search for ways of connecting people to and communing with these ancient objects, physically and sonically via composition and performance.