Elissa Goodrich is a composer, sound-artist and percussionist with abiding interest in collaboration and cross-art forms, working with musicians at the nexus between improvisation, contemporary classical, jazz and traditional music.
Image: Simone Tyrrell
A VCA graduate, Elissa’s soundart works have featured in cultural institutions and festivals across Europe, and in North America and Australasia. Elissa also enjoys long held collaborations with visual artists as well as with independent theatre and physical theatre makers and directors.
Since 2015, Elissa’s practice has included collaborating at the intersections of climate science and new music, working with scientists and musicians to experiment, develop and explore how new music can respond to climate science and communicate, evoke and provoke new audiences.
Elissa’s Gene Tree Project was initially supported by Australia Council for the Arts, Creative Victoria and a City of Melbourne CultureLab residency, and is now in partnership with St Martin’s Youth Performing Arts Centre and The Victorian Royal Botanic Gardens – Melbourne. Elissa also received an APRAAMCOS Art Music Fund composer’s commission for Gene Tree: Listen Now Again.
What activities will the Creators Fund support you to undertake?
The Creators Fund supports me to undertake artistic research on bubbles acoustics' science in partnership with the ‘Surf Sounds’ project (Swinburne University/ University of Melbourne) which is predicting climate changes in our planets' waves - to create new music and sound art.
I will work with the Surf Sounds scientific team, with a video artist, and with sessional musicians to experiment and understand how this science and its modelling can inform new music, specifically as a sound-artist and composer of contemporary improvised music.
Can you talk us through what your work routine will look like with the help of a creator's fund grant?
There are 3 parts to the work routine, which is excitingly, a weekly, full-time routine!:
In the Lab –with the scientists discussing their findings and techniques; collating and experimenting with their research; experimenting with ways in which bubble recordings can be created.
In the field – observing the scientists’ practices; collating and making my own recordings.
In the music studio – developing a method of transforming traditional music notation while drafting compositional ideas. These will be workshopped with an ensemble of contemporary music improvisers, and extended through a visual/audio dialogue with long-time colleague, video artist Michael Carmody.
Where would you like to see yourself and your career at the end of this process?
Having solidified new collaborative working relationships with a group of extraordinary scientists and artists. Having a new set of techniques and approaches to composing music for live ensemble and pre-recorded sound art that speaks to both the science and to music audiences.
Ready to bring this new body of music to new audiences both here and abroad, and to reach both scientific and music audiences and colleagues.
Ready to build upon the collaborations established between both the artists and the scientists with new opportunities to create and present work.