Satch Hoyt, born in London, currently lives and works in Berlin.
He makes sculptures and installations accompanied with sound as well as paintings and drawings.
This installation is called "Celestial Vessel".
Is a canoe made from 1950s RCA Victor Red
Seal 45rpm records that represents the voyage from Africa to the
Americas and the importance of music in holding different cultures
together during the slave trade. The boat form refers to modes of
dispersion, especially eighteenth-century accounts of canoes which were
used to transport captured Africans from the inland to coastal slave
markets. But it also reads as a ghost ship ready to carry us between
realms, from the harsh realities of the physical world to the promise of
the afterlife. The red records act as an imaginary archive that speaks
to the critical role of music as a means to transmit information and
bring people together, as well as to the hardships that African American
jazz artists endured in the music industry during the segregated 1950s.
a mixed race youth growing up in London in the 1960s and early 1970s,
Hoyt would eagerly await the arrival of the latest US imports at the
record store. It was not only a place to discover new music, but an
outlet to another world, where records informed him of the social and
political climate in the African American community and helped him shape
his personal identity. Hoyt brings his sculpture to life with his sound
composition, which samples the records on this canoe and beyond to
collage together the richly diverse sounds of Africa, North and South
America, and Europe.
A vinyl record is a sound storage medium that was developed in the early
20th century. people would place the pieces onto the top of a
gramophone and gently secure the needle onto its rotating contours so
they could listen to their favorite musicians. because of this action,
people began to form a connection with their discs, keeping them in
pristine condition within their sleeves. since then, time has passed and
technology has advanced, labeling vinyl records as ‘retro’ or ‘old
school’. bringing back this nostalgia, upstairs shop has taken old vinyl records and applied them to a comb design called ‘grably’
the grooming accessory is available in two versions.
the first, called ‘no.15′, has been created with thick teeth and
increased spacing between them so they can handle the rugged terrain of
curly beards. the second, called ‘no.20′, is the wide tooth comb which
features thinner spikes placed closer together within its dimensions for
longer hair. decorating each surface are a series of rings that have
been maintained in ode to the material’s previous function.
simultaneously, this deliberate preservation provides enables a firm
grip as the product is in use.
Haynes (b.London 1963) presents bright and dynamic artworks created
using a precious collection of vinyl records which have been re-worked
and re-shaped into colourful, bold and familiar snapshots of pop
culture, the result is a playful and nostalgic exploration of music and
pop culture from his past to the present day.
work is noteworthy for his interesting choice
of materials, creating works from the ‘clutter’ of pop culture - button
CDs or, more uniquely, vinyl records. Whether
it’s a graphically iconic portrait or a meaningful song lyric each piece
created from original vinyl records chosen to enhance the subject
matter; Haynes considers the subject and the object to be of equal
importance within his practice.
Object Gallery, Sydney 2001
Left: Disc-grace Photocopied acetate, thread, found materials
Right: Disc-grace High pressure jet-water cut vinyl records
Each: 1.25mts x 2.5mts
Photo: Rob Frith, Acorn Photo Agency
Created for the exhibition Lace - contemporary perspectives, the piece
Disc-lace/Disc-grace is configured in two half circles, divided by the
corner of a room. Both sections make reference to Renaissance lace
patterns, one utilizing layered photocopied acetate circles and machine
embroidery and the others lace pattern is industrially cut into the
artist’s collection of vinyl records. This work reflects the artist’s
tendency to reinvent traditional patterns by developing processes that
are intended to blur disciplinary boundaries and challenge conventions
and hierarchies of practice.