Chris A. Wright is an interdisciplinary artist, writer and researcher based in the East Midlands working both nationally and internationally undertaking exhibitions, commissions, residencies and conference presentations as well as occasional workshops and teaching. She has a PhD in Fine Art and Philosophy and is part of the Near Now studio based at Broadway, Nottingham.
Mainly using sound, video and live art as a way of articulating borders and marginal spaces where one thing becomes another, she also experiments with other media such as photography and drawing. Recent work includes the Sonic Tapestry commission, an exhibition and audio tour in Melbourne, Derbyshire; She’d 1 and 2 online exhibitions with Hatchery Artists at Artcore, Derby; inclusion in the One Minute film archive acquired by the British Film Institute with film and Winter Narratives artist residency in Vadodara, India.
Wright began Hatchery as a lockdown response for mutual support and artistic development.
Wright’s practice is concerned with borders and marginal spaces where there is a transition from one thing to another creating cross-cultural, political, social and environmental currents that signify change and highlight the relationship to time and space. Currently, her practice focuses on sound as a way of testing the perforated border and articulating the space between as well as the hinterland. Sound is often found, as in overheard, recorded and re-played or created, by humming for example, which creates an intersection with the body where it creates a sculptural shape. It is developed with the help of found objects such as snippets of overheard conversation, chance encounters, a lost bus ticket, a fragment of sound, a door left ajar with light and voices creeping out or an idea ‘found’ through being in a particular place at a particular time. Revealing the hidden and the lost through these methods articulates space through its performative actions that are ambiguous and fluid.
As part of her practice, she has recorded in an anechoic chamber, sailed paper boats down the Mekong River at the border between Thailand and Laos, blown across a bottle top down a fjord in Norway to test the liminality of sound, hummed in a crypt in Sardinia for its resonance, imitated early morning birds and monkeys in India with a soprano recorder to encourage ‘dialogue’, recorded 400,000 bees going into hives in Birmingham and used an amplified aquarium to hear the inside of the bubbles. Outcomes often incorporate film, photography, performance and drawing and may use light as well as sound. Wright works alone and collaboratively and develops peer critique networks as well as communal ways of working including Skype.
She sees her work as experimental, aiming to present a set of proposals that weaves different ideas and media that continues to ask questions. The underlying seriousness is balanced by a certain playfulness within the work itself. Dialogue is inherent and continually asks ‘What new thoughts does it make possible to think?’.