'interruptions' is a sound installation composed for Ilona Skladzien's exhibition 'play nicely'. It attempts to sit in the space between the two words which make up the exhibition's title and understand the relationship between them. How does one fit play - imaginative, abrupt, sometimes loud and destructive - into socially acceptable concepts of niceness? Joy Ingle uses granular synthesis to veer between ’nice’ and ’noise’ in this sound installation, breaking down and rebuilding sounds to play with the boundary in-between them.

interruptions

I was trained in tradition, yet I stepped beyond its walls. Sound is my language, not to decorate but to liberate. Composer, performer, and listener — one fire, three sparks, inseparable.

I write and compose to uncover what is hidden: the truth buried beneath power, the dignity of the ordinary, the current of awareness that flows through all.

I belong to no authority, only to sound, to truth, to the silence from which all begins. My work is not mastery, but remembrance — a manifesto in every note, every word, every breath.

I am a composer of the 21st century: a studio artist. The studio is my forge, my battlefield, my sanctuary. Machines hum like choirs, circuits burn like torches, cables twist like roots in the earth. Tradition breaks open in this fire — the score turns to light, the instrument becomes the world itself.

To be a studio artist is to seize sound at its rawest, to sculpt electricity and breath as one, to summon the invisible power that belongs to all. Here music is not bound by walls, not enslaved by profit, not tamed by form. It is free, untouchable, unending — a living flame for the century that is ours.

composer, fiddle player and bog enthusiast
they/them

interruptions

joy ingle