Sarah Warne, Rupert Newman and Aretha Campbell at the opening night of Tripping the Light Fantastic
Recently held in London at the CocknBull Gallery, Tripping the Light Fantastic was a multi-sensory gallery installation by the artist Rupert Newman. Curated by Aretha Campbell, the exhibition showcased Newman's geometric, kinetic and colourful projection artworks complemented by soundscapes created by Sarah Warne, a film and arts composer signed to Faber Music. The sonic elements of the show were played through a pair of Genelec 8040s.

Rupert Newman is known for his painting and textiles pieces as well as event installations. His work focuses on the relationship between light and surfaces and includes architecture, sculpture and canvas works. This aesthetic approach is frequently from a cross-platform perspective and his shows usually feature a sonic element. Tripping the Light Fantastic is the tenth collaboration between the pair since 2010 and one of several interactive, set piece multi-sensory gallery installations.

For Sarah Warne, accurate sound reproduction is incredibly important, both during the creative process and for listening pleasure: "Sound playback that I can trust is crucial to me," she says. "I am often working with multiple sound elements; temporary dialogues, sound FX and the music I am creating. For that reason it is of paramount importance that my mix is transparent and accurate as I want to have faith in what I hear before I send out any music to be mixed. I have worked with a pair of Genelecs for the past four years in a small project studio, and I couldn't be more thrilled with the quality and transparency of the monitors. For me, they also sound great when listening for pleasure."

The 8040s were supplied by Genelec's UK distributor Source Distribution: "The brief was to supply a system which was able to reproduce Sarah's compositions accurately and complement Rupert's artwork to create an immersive experience for visitors to the exhibition," says Andy Bensly, pro audio product specialist at Source.

"It was also important to provide a system which would be discreet, so as not to obstruct sightlines and provide coverage that was even and consistent throughout the gallery. The space itself was quite reflective but had a good low frequency response so the 8040s were more than up to the job. After calibrating the system with the on-board filters, the audio was reproduced accurately and due to the DCW, coverage both on and off axis was excellent."

(Jim Evans)

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