Sharonagh Montrose

Past Exhibition
  • In the Gloaming
  • In the Gloaming
  • In the Gloaming
  • In the Gloaming
  • In the Gloaming
  • In the Gloaming
  • In the Gloaming
  • In the Gloaming
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In the Gloaming, 2015,
Jarrah timber, hot dip galvanised fittings,
H.1000mm X W.1500mm

Gateways and journeys create an interactive work which generate sound passing through to the other side and beyond.

This  work at Brick Bay Sculpture Trail evokes a sense of fey, of haunting like mist over shade, natural sounds that are local to the area, electronically altered to evoke temporal disjunction where the past meets the present.

That disjunction takes the form of a gate: a free standing, moss covered portal in a glade on the walkway beckons yet denies admission to the secrets of the wood. It is a tale of mystery and wonder. We approach along the walkway and pass through the gate, activating sounds that reverberate from a series of subterranean chambers deep below the earth, which crescendo and fade as the gate closes.

Montrose creates a gate that looks comfortable and familiar in its environment yet it evokes a childhood mystery of gates that lead to secret, magical places and forbidden adventures, legends and myths.

In the Gloaming
In the Gloaming
In the Gloaming
In the Gloaming
In the Gloaming
In the Gloaming
In the Gloaming
In the Gloaming

More from this artist

Artist Bio

Sharonagh Montrose created her first outdoor and under-earth electronic outdoor sonic composition in 2005, one of the first in New Zealand to use the earth as a means to transmit sound waves through a natural environment, using on site recordings to meld with and disrupt the natural sounds of the space: a stop and stare!

Her practice embodies a concept of Wonder and an invitation to expand the language of the mindscape beyond the quotidian of things that clutter ideas into needs and narcissism

Montrose uses sound as a brushstroke on the landscape, a painterly, sonic device to evoke and question the sculptural space.

The physicality of sound is the medium for her work as means for thought to new seeing. It is sited beyond words and resides in experience.

Her PHD thesis questioned the impact of digital to visual relationships in a coined name, Binary Psychosis,, created by Montrose in 2007, for the purpose of querying social-mediated engineering and the possible impact on seeing beyond the frame/ These thoughts are embedded in her practice.

Her art wonders constantly the non sequitur.