photograph by Mark Rietveld
By approaching sound recording as a form of ear training and research, Patterson has devised and performs with a selection of amplified devices and processes.
Whether working live with amplification or recording within an environment, he has pioneered a range of methods to produce or uncover complex sound in unexpected places.
From rock chalk to springs, from burning nuts to vibrating metal, he eavesdrops upon and makes a novelty of playing objects and situations otherwise considered mute.
His collaborators have included some of todays’ most respected experimental musicians and filmmakers such as Mika Vainio, Jennifer Walshe, Vanessa Rossetto, David Toop, Rhodri Davies and John Butcher, Greg Pope, Benedict Drew, Luke Fowler, Lucio Capece, Rie Nakajima, Angharad Davies, Phil Durrant, Keith Rowe, John Tilbury, Xavier Charles and Tetsuya Umeda.
His works have featured on UK TV, BBC Radios 3, 4 and 6, Resonance FM and on radio stations worldwide.
He lives and works in Prestwich, Manchester, UK.
The table upended, its contents strewn across the floor
Back in his home city and taking advantage of the opportunity and space afforded by Cut & Splice 2017, Lee Patterson revisits installation, albeit with a performative twist as a nod to friends and collaborators Tetsuya Umeda, Rie Nakajima and Pierre Berthet.
The table upended, its contents strewn across the floor is a response to his own assumptions about and frustration with live performance, as well as to the role of the table when musicians are playing with objects.
Over the course of the festivals’ daytime hours, he can be found in residence at Hallé St Michaels, with him amongst other things, his collection of amplified objects and devices familiar from his live shows.
Slowly introducing these instruments into the space, he amplifies and explores the tiny sound phenomena of such things as burning nuts and seeds, amplified springs, motorised objects and chalk submerged in water, alongside specific interventions relaying and amplifying sounds of the buildings’ hidden apparatus.
Borrowing from his solo improvisations, ideas about drawing and sculpture, he builds a shifting, semi autonomous collage with a floor based mess of cables, pick ups, contact microphones and other paraphernalia.