About the Artist
Perri Lynch (Seattle) combines audio recordings with multi-media to investigate the relationship between human perception and sense of place. Issues of navigation, intuition, and physical proximity are key components of these investigations. Through combined techniques in sound, light, sculpture, and 2-D renderings, Lynch explores many attributes of a place simultaneously. Her latest series focuses on cognitive mapping and the human need to explore, inspired by recent travels in India, Ireland, and Sri Lanka. Her work has been exhibited in Seattle at the Jack Straw New Media Gallery, Consolidated Works, Northwest Film Forum, and the Kirkland Arts Center. In 2005, Lynch completed her first permanent public work, Imbrication, located at the Lake City Library (Seattle). Her second commission, Sightline: Standing Stones, was installed in Seattle’s Magnuson Park in late 2006, and she installed a permanent work at Seattle’s Greenwood Neighborhood Firestation in the Spring of 2012. Additionally, Lynch was awarded a Seattle Mayor’s Office of Arts & Cultural Affairs' 2008 CityArtist Project. She received her MFA in printmaking in 2001 from Cranbrook Academy of Art and currently lives in Seattle.
Lynch received a 2004 GAP to assist with professional development through upgrading dated photographic equipment—including digital camera conversion—and covering tuition for an audio production class, as well as studio time with a sound engineer. Because the synthesis of digital imaging and sound is central to the artist’s studio work, this support will ensure that “my existing efforts will be enhanced by further production knowledge and increased familiarity with the necessary tools for the development of new work, focusing in particular on the viewer’s connection to their own individual perceptions of place.
As part of her Fellowship’s Meet the Artist requirements, Perri and her collaborator David Stutz presented radius, a live, improvised, audio performance at the Seattle Department of Urban Planning & Development’s Urban Sustainability Forum. Over 200 people heard raw field recordings Lynch made around the globe, reduced, reused, repaired and recycled to form a sonic landscape of sustainable practice. Featured sounds included the opening bell of a drawbridge, wind in the trees, a community bonfire, the patter of a Bengali taxi driver, the ping of instruments monitoring the ocean, a suspension bridge at rush hour, the buttermilk blessing of Tiruvannamalai, a gathering storm in Scotland and an endangered bird from the Andaman Islands. Lynch says, “radius connects the outer edge to the center, drawing attention to the interrelatedness of all things.” One audience member stated, “What I discovered in that performance was that the juice or spark in art is in the quality of communication.” Lynch states, “This gig clarified that the work, for me, is not ‘entertainment’ per se. It’s more about cultivating an environment where people can settle in and listen. That’s where I was at when I gathered the sounds and where I want to meet the audience when hand-meets-fader.”
Information included above was provided by artist at the time of application.
From the Artist
I commend Artist Trust for granting funds for development. So many other agencies are just interested in “product.”