Thread Pulls (Duffy/Maybury)
5-8 rhythm here c/w You melt words
12" vinyl and digital download
released 22 October 2012
Recording: David Donohoe
Production: David Donohoe/Thread Pulls
Mastering: Analog Heart (Stephen Quinn)
P + C Thread Pulls 2012
CF Records cat. no. CF/F34
video: Peter Maybury
2009
David Donohoe, Peter Maybury, Marie-Pierre Richard
single channel video with stereo sound
duration: 1:07:08
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As much about forgetting as remembering maps out a feature film to produce a new film comprised solely of text on a black screen in the universal sub-titled format. David, Marie-Pierre and I view the original scene by scene and then write a collective descriptive memory, focussing on the details surrounding the events, while excluding all dialogue and narrative elements. There is some disagreement and much uncertainty, and this is included in the resultant text. The subject of the new film is all that goes unnoticed as we choose to filter our environment in pursuit of daily activities, and the mediated narrative of received information. As a reference to La Jetée, where one momentary moving-image sequence is inserted in a film constructed from still images, there is one instance of sound in this otherwise silent film.
David Donohoe and David Lacey recorded in the Iveagh Trust Building (Liberties College), Dublin, 27 November 2020.
A film by Peter Maybury.
sound recording: David Donohoe
First broadcast on Dublin Digital Radio’s Four Waves festival, 12 December 2020
A small observational film on the making of the drapes for the cinemas in Pálás, Galway.
A Gall production
with the support of EP Picture Palace Limited
filmed at Drapesworld, Bray Co. Wicklow and Pálás, Galway, Ireland
Director/Editor /Camera/Sound Peter Maybury
thanks to Irina Zoubek, Gavin Murray
Peter Maybury © 2018
Peter Maybury, 1998
single channel digital film, silent, duration: 5:13
First shown at Freeze ’98 (a winter projection festival) at Arthouse, Dublin. Other works by me in the exhibition included:
‘Other peoples’ home movies’ (custom made brass fittings with lenses mounted in the windows and displaying single frames of found super8mm film); Somebody else’s holiday (1964) (slide projection of found 35mm slides); Gucci: Trash: Canvas: Points (a digital film made from found 16mm footage). I don’t remember completing ‘Hotel’ (see curator’s letter). Curated by Niall Sweeney. Digitised at Screen Scene, edited at Arthouse, Dublin.
watch Gucci Trash Canvas Points here
Honeymoon
Peter Maybury, 1999
analog video loop on LCD monitor and single channel audio.
Video was visible from gallery exterior only, while audio was played into interior. The soundtrack is a slow pulse, reminiscent of radar, or a lighthouse beam. The image was made from a 35mm slide photograph taken by my father whilst on my parents’ honeymoon.
First exhibited at The Douglas Hyde Gallery, Dublin, 1999, as part of the Utopias exhibition. Installation views show exhibition typography which I designed. The UTOPIAS lettering is a backwards skewed and expanded version of Rudy VanderLans/ Zuzana Licko’s Oblong (Emigre fonts), also used here.
watch Honeymoon here
see also UTOPIAS
Peter Maybury, 2020
dual channel video, with 2x stereo sound. duration 60'00"
Landfall is an hour long dual-screen, dual-stereo film installation, which I shot, edited, produced and directed. The film installation was originally commissioned in 2019 by acclaimed theatre production company ThisisPopBaby for Where We Live: Stories from the City (2020), a bi-annual theatre and arts festival presented in association with the St. Patrick’s Festival. Landfall was presented at Project Arts Centre, Dublin. It was curated by David Donohoe, Eamonn Doyle and Niall Sweeney. Due to the closure of all cultural centres nationally on 12 March 2020, a measure resulting from Covid-19 containment efforts, the exhibition, originally scheduled to run until 21 March, was closed the day that it opened.
The film is a succession of vignettes which combine to form interrelated observations on the island of Ireland as a set of conditions – geographical, political, ideological – with themes of contested ground, boundaries, containment, resources, energy, systems, and structures emerging. Chronology and geography are disrupted, thus correspondences across the material are explored through sequence and juxtaposition and recurring motifs or themes. In presentation the scale of the projection (human figures often equal or exceed life-size) reinforces or makes palpable the presence of human activity in the images of the built environment. Throughout the many locations, events and themes in the film, there is an overwhelming sense of the relentless presence, movement, and demonstrative will of people. The drummer recurs throughout the film, through footage of a spontaneous, late-night city-centre improvised musical gathering. This occurrence had remarkable and varied affect on passers-by and these filmed sequences are emblematic of tensions between private and civic space, as the city’s occupants reclaim and repurpose the streets.
Landfall comprises documentary or observational footage shot (in the Republic of Ireland) over the period 2012–19. The material was recorded using a DSLR camera recording HD video, in a Direct Cinema tradition (single camera, available light etc.). The footage consists primarily of tripod shots with panning, zooming and varying focus-points, and a small element of hand-held footage. Exceptionally, two sequences were recorded using a mobile phone camera. The camerawork intermittently makes itself conspicuous through abrupt movement, focus-finding etc., bringing a self-reflexive element. The soundtrack is heavily processed in post-production using Ableton Live 8 software – a combination of direct sound (recorded either in-camera or using an additional audio recorder); sound generated using analogue synthesizers; Foley techniques; and field recordings from non-contiguous sources. Often there is no actual correlation between sound and image as the sound has been entirely synthesized, but the viewer imposes one.
Landfall is presented as a continuous loop of one hour duration, but has a (conceptual) starting point – incoming tidal waves at Sruwaddacon Bay – the ‘landfall’ where the Corrib gas field pipes reach the mainland. Across two screens, multiple marches, protests, and demonstrations are depicted. These include the Apollo House occupation; housing crisis demonstrations; the ‘Right2Water’ campaign; the Repeal the 8th campaign; Extinction Rebellion, and the ‘Take back the City’ occupations. The earliest of these (and where the idea originated) was Occupy Dame Street, 9 March 2012. This is interspersed with footage of the Corrib Gas refinery; Anglo Irish Bank/Central Bank of Ireland under construction; Custom House, St. Patrick’s Day; a wind turbine; bee hives; a street drummer; Avondale Forest Park (site of a demonstration against the proposed sale of national forestry resources); a gorse fire; Rundale fields; water meter installation; and flood alleviation works. The choice of what to film was for the most part preselected – I chose to attend marches and demonstrations – while some sites such as a gorse fire and a wind-turbine were encountered by chance, but included for their thematic relevance and emotive impact. Filming was done without pre-planning and what I filmed was an intuitive or improvised response to what I was witnessing. The approach to the sound design is partially informed by necessity. With no crew and very limited resources, work-arounds compensate for inadequate quality or ‘coverage’. The processing of sound (manipulation through amplification, equalisation etc.), and synthesis (sound which does not in fact originate from the visual source but simulates and functions as a place-holder) cause ruptures between sound and image, distorting scale and thereby questioning verisimilitude. This treatment is influenced by Chris Marker, employing sound as a psychological means to charge and disrupt the evidentiary material.
At exhibition the material is projected onto the screens in sequences, employing either left or right screen, or both screens simultaneously. This sequencing creates a dramatic physical effect on the viewer in the exhibition space amplified by the volume of light being projected, the width of the projection area and the viewer’s close proximity to it. The sound is played at high volume to enhance the visceral and immersive experience. Behind each screen is a floor-standing subwoofer speaker which delivered low frequency sounds, while two stereo-pairs of loudspeakers were suspended from the ceiling in an ‘x’-formation. This creates a tangible spatial dimension as the sound source can literally travel (pan) from one corner of the room to the opposite corner along two axes. The sound segues from one sequence into the next creating interplay and sound clash. This is particularly dramatic when corresponding with movement within the footage (for example a tram passing).
22 short films made to accompany a lecture.
medium: Single channel digital video, some with stereo sound
duration: various
Peter Maybury
digital film with stereo sound,
1:00:00, 2022
On being there is a filmic encounter with the material and outputs of the office of Tom dePaor. The earliest project represented here is from 1991, and the film spans 30 years to include a project at Dysart, Co. Wicklow. There is the place itself. There are notebooks, drawings, prints, scale models, 35mm slides, photographs, films, files, books, writing. A diversity of materials and media, evidencing significant technological changes in production and reproduction. This is the raw material.
The film is a rerecording, or sampling of this material, where scale, media, and modes of presentation and realisation merge. The linear transition from drawing to model to built landscape and documentation is disrupted. The film explores the permeability of the image. Animated or activated through movement and operation, everything can be superimposed, overlaid, or cut into. An audio-visual encounter with place, within the space of the screen and the loudspeaker.
On being there was originally made for the Tom dePaor exhibition i see Earth: Building and Ground 1991–2021 at VISUAL Carlow, 2022.
Peter Maybury, Tom dePaor
date: 2008
medium: Single channel digital video with stereo sound
duration: 15:32
Camera, sound, editing: Peter Maybury
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The film was played on a continuous loop, within the Delay armature, presented at The lives of spaces, Irish Pavilion, Palazzo Giustinian Lolin, 11th International Architecture Exhibition La Biennale di Venezia, 2008
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www.mexindex.ie/work/relayer/
curated by Dennis McNulty
Rainfear
David Donohoe and David Lacey
The Douglas Hyde Gallery, Dublin
26 January 2017
cameras and editing: Peter Maybury
sound and titles: David Donohoe
2015
Peter Maybury, Tom dePaor
Single channel video with stereo sound. duration 10:00
Made at ETH Zurich. First shown at Book for Architects, ETH, Zurich.
Camera, sound, editing: Peter Maybury
Peter Maybury, Tom dePaor
2017
single channel HD video and stereo sound
duration: 5mins
A line engraving drawn by T.Cocking in 1791 which appears in F.Grose’s ‘Antiquities of Ireland’ shows a view of the east aspect of Ballysadare Abbey, comprising the ruins of two walls with shrubs in foreground and mountains in background. The arches of the belfry and a small part of the tower remain, and are of a blackified stone and good masonry.
Joinery offsite series
National Concert Hall
Dublin
Friday 4 April 2014
Rainfear
David Donohoe & David Lacey
Cameras: Peter Maybury, Jonathan Sammon
Editing: Peter Maybury
Sound: David Donohoe
Thread Pulls (Duffy/Maybury)
You melt words c/w 5/8 rhythm here
12" vinyl and digital download
released 22 October 2012
Recording: David Donohoe
Production: David Donohoe/Thread Pulls
Mastering: Analog Heart (Stephen Quinn)
P + C Thread Pulls 2012
CF Records cat. no. CF/F34
video: Peter Maybury
