The Foley Studio

Exhibition at Galeria Silvestre, Madrid.


The exhibition is an installation with a 5-channel foley play recorded specifically for the gallery space. Surrounding the speakers are arrangements of all the props we used to create the sounds that you hear. As is often the way with foley, it’s an unusual mix of things. Some props are as you hear them, shoes for footsteps, and a chair for the sound of someone sitting. Others are more of a visual mis-match, gloves, feathers and a feather duster, for the wings of a bird (see above) and a metal ladder with chain mail armour for the sound of the gallery’s roller shutters in the wind. 

Rebecca Glover’s The Foley Studio assembles a laboratory for further experiments, a sonic speculation that sets a stage of common things (and uncommon ones, too), amasses props to excavate the ordinary out of the background noise in which it gets buried, draws diagrams to guide the auditory back to astonishment and envelopes all in an atmosphere that weighs heavy and light in rattles, jangles, zips and shimmers, in crumples, cracks, shuffles and steadier steps, in rummages and riflings, in scribbles, squeaks, and scrapes, in clicks, bubbles, trickles and tinkles, drips, creaks and clangs, in comings and goings, beings and becomings.

Quote taken from How To Put On Weight a text by Angus Carlyle which accompanies the show.

Massive thanks to my colleagues at Feet First who helped me record it all. Without their support it would have been impossible!