Madeleine Flynn is an Australian artist who creates unexpected situations for listening.
Her work is driven by a curiosity about sound in human culture and seeks to evolve and engage with new processes and audiences, through public and participative interventions. Her practice intertwines local, national and international relationships. In 2017 her practice was awarded the prestigious national Australia Council Award for Emerging and Experimental Artforms. Her current areas of interest are existential risk, sound and artificial intelligence in public space, and long form socially engaged public art interventions. She has a longterm collaborative practice with Tim Humphrey.
Madeleine will work on a four month creative enquiry process entitled How Things Sound Matters. This process will research and create prototypes concerning audio, artificial intelligence technologies and audience interactions. The time includes both individual and collective research processes. By exploring the cultural and ethical possibilities of the characters of artificial agents, working with key experts in techno- feminist and local knowledge, the project will create prototypes and propositions for future unknown pathways.
What does being awarded a Creators Fund grant mean to you?
This grant is really a game changer for me in this period of my practice. It means for a period of time, I am not worried about the spinning wheels of presenting works to finance our home and family commitments and can proceed to the deep concentration that the development of new thinking requires.
How important is 'time' to you, as an artist/creative professional?
Time is the most important thing. Sitting with, working on, reframing, deepening understanding, all take this precious thing. One of my collaboraters, Cassie Lynch, is a researcher into the Nungyar concept of deep time: time and her associated tempos and framings are imperative within my research process.
What are you most looking forward to over the months ahead?
I am really looking forward to working out all the things that I do not yet know that I will encounter. I have a fantastic set of collaboraters, and processes and the task ahead will be to take the time and intensity of that time to allow the ideas/works to arise.
Where would like to see yourself at the end of this process? How do you anticipate your career will develop as a result?
I hope at the end of this process that both I, my collaboraters, and my community of peers have developed some new ways of proceeding to intersect and influence key questions of our time.
I have no doubt that investing in artists opens new pathways for us as artists, but also for the wider community.