Early this summer on a rainy day, I caught up with Manchester-based artist Naomi Kashiwagi after legendary graphic designer Peter Saville selected her as one of Manchester’s up and coming artists to watch for an article we did for Dazed Digital.
Naomi has a video up on artplayer titled Glitchphonic – a sound performance she did earlier this year using a gramophone for Manchester’s Castlefield Gallery and artplayer’s iKast 2012 series. I spoke to Naomi about her general practice and what it’s like to glitch on a gramophone.
Carol Huston: Overall, how would you describe your practice?
Naomi Kashiwagi: I trained as a painter – I did Fine Art at the Manchester School of Art. Even when I’m doing the gramophone performance, it’s quite tactile. It’s almost mark-making, but with sounds rather than it being visual marks. So when I’m doing the gramophone and other different aspects of my practice, it all leads back to drawing or mark-making. A lot of my work has to do with re-invention, trying to re-invent the uses of things. I’ve used violin bows as paintbrushes and have composed music with typewriters.
Carol Huston: How does glitching on a gramophone differ from traditional djs’ work?
Naomi Kashiwagi: A lot of times when I’m working, I create a structure for chance. I really want that to be embodied in my work. Usually when scratch djs use tape it’s kind of to find that point where they’ve got a particular loop whereas for me it’s just more of an exploration. Sometimes I’ll find a loop and if I really want that loop I have to stay really still. When I’m doing a performance and I really want a particular loop, if I move slightly, it just jumps. It’s really funny looking back on it. It’s not like something you can just put on repeat like in GarageBand. I wanted to keep an element of chance in the way my work is composed.
You can watch her performance on artplayer here.
Carol Huston is a freelance writer based in Manchester.