Voice, travel, food, insomnia. Recording made during a live broadcast for Radio Beirut, with the support of Samon Takahasi. 

Falling with Food

A binaural audio work made in a very short period of time for Sonar+D media arts festival, Barcelona. The piece was devised for a one to one 'walk', incorporating layers of live and recorded field recordings from the festival site and synchronised movements with the participant. (please listen with good quality headphones)

Soggy Rummage

Very first experiment for 'Prodding Stone' - This soundtrack interwove itself with field recordings and scripted voices for the later audio work. 

ProddingStone musical score

I produced this sonic composition for Bristol Biennial 2014. It developed from the idea of re-imagining an archaeological dig as a surgical operation, one in which stone becomes interchangeable with flesh. 

This wider piece also responds to the idea that buildings, like bodies, are sustained by the tensions between the tangible and the imagined - the voices, attitudes and sensations that flow through physical forms. 

The final piece consisted of headphones connected to a MP3 player that was inserted into a dummy rock. These were available to sign out from four different locations across Bristol throughout the ten day festival. Listeners carried these 'stones' into the surrounding public space whilst experiencing the work.

(photo credits: Alice Fruer-Denham Photography)

Prodding Stone

A six channel audio work amplified beneath the air-vent grills along the curved glass panorama at Bonniers Konsthall. This piece re-imagines the room as inside of a giant head. A playful exploration into how the flows of internal bodily spaces bleed into or interfere with listening experiences of the built environment. 

This is a consolidated version of the six mono tracks that were installed around the perimeter of the room (best experienced with headphones).

Crumple Zones

Composition of field recordings made on the island of Papa Westray in Orkney, using buried contact microphones, submerged hydrophones and binaural mics. This piece is part of a wider body of work that playfully explores themes of metamorphosis and decay in the environment - for instance where the land and sea become a digestive organ.

A Gut Beneath the Shore

A selection of notes reflecting on my encounters over the past year for example in caves, burial chambers, hospitals and the kitchen - seeking to come to terms with the visceral reality of bodies. This became a central component to my exhibition 'Chamber'.

Notes for Chamber

Audio Composition integrating voice and field recordings based on Natasha Rosling's first visit to Papa Westray, Orkney. All audio was recorded on site on Papa Westray using a mix of stereo, binaural mics, contact microphones and hydrophones.

This work was developed and presented as a roaming audio work as for a larger body of work - 'What Remains', part of the Odyssean Topographies exhibition at Hestercombe Gallery 2017-18. 
http://odysseanproject.co.uk/

Hole in the Land

This is a recorded collection of notes written by Natasha Rosling where she reflects on her direct experiences, pondering the connections between the interiors of the body and the land and the boundaries between the living and the dead. 

This was presented as part of the Wider body of work 'What Remains', for Odyssean Topographies at Hestercombe Gallery 2017-18.

The work was installed inside a lounge chair, upholstered in fabric designed by the artist, with a kaleidoscope of seemingly random objects, which slowly gain their significance through references in the audio.

Natasha Rosling

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