Our sonic exploration has led us to one of the most iconic resonating objects, the bronze bell. Through studying the form and acoustic qualities of traditional bells, we set out to design and cast a new set of bronzes that are equal parts sculpture and instrument.

 

Over the last few years, we have been honing our craft, travelling around the country to learn from various founders and bell makers, developing specific techniques and skills for making these new objects. This period of research and development has led us to set up our own foundry, where we apply our experimental and material-driven approach to bell founding, merging 3D digital design and digital fabrication with traditional bronze casting techniques. Although these new forms challenge the traditions of the medium, they still unite and connect people to the experience of sound as both a visual and tangible phenomenon. 

 

The bells were specifically created for the 'Sound and Silence' exhibition at MAKE SOUTHWEST in Bovery Tracey, and the installation draws inspiration from mid-century design, industrial modularity and timekeeping mechanisms, exploring the concept of time fluctuating within rigid constraints. The motors turn at a consistent rate, driving the beater back and forth, reminiscent of the measured ticking of a clock or the rhythm of a metronome. However, the point at which the beater strikes the bell is flexible and distant from the motor, allowing for a more chance-driven, inconsistent and chaotic encounter. The bell's resonance extends far beyond the moment of the initial strike. As this acoustic memory fades, the beater returns to energise the bells once more, either with a direct strike or a glancing hit that reveals a new resonance, or perhaps completely misses, leaving space for silence.

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As part of their installation, we made a series of six ceramic tiles that have each been etched with the sound from the bells. Each bell has a corresponding tile, and to create them we used our DIY sound lathe tool to inscribe sound into clay. Each bell was recorded, and then the sound was cut into the clay tiles - blending traditional techniques like sgraffito and inlay with experimental sound. These pieces were initially inspired by the traditional encaustic floor tiles found in medieval churches and cathedrals; however, these tiles depict sound instead of images.

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The bells on display are part of a larger series of bronze objects which are designed to foster collaboration, as we invite other musicians and performers to join the 'Bell Ensemble' for live performances. The Bell Ensemble is constantly evolving and seeking new interpretations, with resonating bells as its single core element.