A live performance in the HOME Main Gallery
Live performance with reconfigured organ pipes creating a dialogue with Gabriel Kidd’s solo exhibition I found the giant and he was dead. Willow Swan and Ellis Berwick activate the exhibition with a durational sound performance evolving the soundtrack by Swan and Kidd as heard in the exhibition.
The sonic sculpture orchestra of DIY instruments functions as self-playing systems or as manually activated works. These sculptural instruments blur the boundary between object, installation, and performance, creating an immersive and spatial sound environment.
About Willow Swan
Willow Swan and Ellis Berwick are an artist duo working across sound, sculpture, and performance. Rooted in a shared interest in repurposing industrial materials into improvised wind instruments, their collaborative practice transforms functional structures into resonant, site-responsive sonic forms.
Together, they construct sculptural instruments — often drawing from organ pipes and foghorn architectures — that blur the boundary between object and activation. Their performances navigate industrial, geographic, and biological terrains, creating immersive sound environments that reflect on memory, identity, and ritual.
Swan and Berwick produce dronal soundscapes suffused with electronic tones and textural interference. Their work explores how sound carries across distance: as communication, as residue, and as embodied experience.
About the exhibition:
Gabriel Kidd: I found the giant and he was dead
Gabriel Kidd’s new immersive exhibition at HOME incorporates soundwork and figurative sculpture made from silk, wool, latex and Japanese paper. Using queer tactics of parody, the work is inspired by local folktale, landscape, and medieval notions of time.
The relationship between interior and exterior worlds is explored, through the reimagined tale of two giants, Alderman and Alphin from the valley of Greenfield, Saddleworth. Figures convey gestures and signals performed in gay cruising culture, the poised, slouched, or side–lying, they invoke a knowing desire, blurring a sense of individuality, empowerment, and destruction.
