Article in eContact!


Scott Sherk has an article appearing in the October issue of iContact!, an issue on light and sound.

Cor + Som: Filling an Alentejo castle with colour and sound
by Scott Sherk
link to article: eContant!

Landscape Reformed / Scott Sherk


Reformation Reformed
An invitational exhibition envisioning ongoing reformation.

Concordia Gallery
Oct. 19 - Nov. 15, 2017

Concordia College
Minneapolis, MN

 

Color: Primary to Tertiary


Color: Primary to Tertiary

Juried by Lilly Wei

Artist Reception – Friday, November 3rd 6-9 PM

November 3rd – December 3rd

Artists

Mia O, Natalie Christensen, Ruth Lozner, Jessica Alazraki, Joseph Heathoctt, YaFu Wang, Tracy Child, Florence Alfano, McEwin Dorian, Lee Zoya,
Taylor Lydia Dildilian, Gail Flanery, Joanne Handler, Crystal Pei, Jenna Lynch, Pat Badt, Phoebe Sonder, John Francis, Shyun Song, Tyler Bohm,
Marla Mossman, John Bassett, John Gallagher, Jim Nickel, Conny Goelz-Schmitt, Shanlin Ye, Frances Kuehn, Jon Coffelt, Jing Xu, Myra Eastman, Susan Greenspan, Tom Wheeler, Andra Samelson, Heather Bause, Katie Barrie, Jessica Houston, Michelle Dyrness, Stephanie Lehr, Colleen Cunningham, David Francis, Irina Shoyhet, Joan Grubin, Alison Kudlow, Charles Anselmo, K E Sekararum, Tad Philipp, Tanya Synar, Joanna Madloch, Joshua Littlefield, Bren Galvez-Moretti, Arthur Celedonia, Beverly Barber, Joan Easton, Maya Kabat, Loren Erdrich, Erica Licea-Kane, Jo-Ann Acey, Monroe Hodder, Patrick Affourtit, Harley Grieco, Lisa Hesselgrave, Avani Patel, Jo Wood-Brown, Julie Eisenberg Pitman, Wilfred Brunner, Winnie Sidharta, Jane Armstrong, Liz Moore, Shiloh Cinquemani, Anthony Bailey

Experimentation/Improvisation


October 19 – November 17
EXPERIMENTATION/IMPROVISATION:
Pat Badt & Scott Sherk, Lyn Godley, Katja Loher, Robin Rhode, John F. Simon Jr., Anne Spalter, Nicki Stager and Genevieve White

Curated by Rhonda Wall and Rick Salafia

Miller Gallery
Kutztown University, PA

 

Alentejo CD


We are happy to announce a new CD release on 3LEAVES!
Scott Sherk's 'Alentejo' is now available through the label's webshop in a limited edition. You can listen to a preview track of the album on SoundCloud here: 
https://soundcloud.com/3leaves/scott-sherk-alentejo-upcoming-album-excerpt

purchase limited edition CD from 3 LEAVES: http://3leaves-label.com/3lstore/index.php?route=product/product&path=61&product_id=96

REVIEW
Scott Sherk ~ Alentejo

With Alentejo, we welcome back the 3leaves label following a two-year absence.  It’s also a return to recording for Scott Sherk, who defines himself as “a sculptor who often works with sound”.  This quiet release offers a gentle way for the label and artist to reemerge.  The disc is the audio portion of a larger installation in the Castle of Evoramonte, which also includes a color component from Pat Badt.
Alentejo, Portugal is described as “a sparsely populated area of gentle savannah with cork oak and ancient olive trees”.  As such, it lends itself to thoughts of tranquility: to the frantic, a slow pace, and to the overstimulated an opportunity to re-encounter life’s simple pleasures.  The first is a night under the open stars.  As one listens, one imagines an area removed from light pollution, in which the nuances of the sky may be enjoyed.  While we hear mostly crickets and a faraway dog, we think we hear the calling of the cosmos, the music of the spheres.  More musical is “Sheep”, which also features an expanded role for the dog.  The bells are the highlight.  With the sheep so subdued, the encounter comes across more as a herd of clappers.  The wandering, speaker-to-speaker tones (repeated later in “Wind”) produce a feeling of movement, walking the savannah with an improvised stick.  The crickets will receive their spotlight later on as well, their voices manipulated in such a way as to provoke the question, “what sort of mates might these frequencies attract?”
For those immersed in urban environments, the listening experience may come as a shock.  There are still vast, unhurried spaces in the world, spaces in which one might hear only a single conversation in a castle.  Yet even in Alentejo the outside world seeps in, as proven on “Drone”, which magnifies the intruding resonances of civilization.  Offering counterpoint, the album closes with the sound of wind: soft and subtle, but capable of great fury, enough to engulf all other sounds should it so choose.  We boast that we’ve tamed the world, but it’s only an illusion.  (Richard Allen)

REVIEW
Scott Sherk: Alentejo

from Textura (site link:click here)
3LEAVES
A sound sculptor and Professor of Art at Muhlenberg College, Scott Sherk uses his fine-tuned sensibilities on this 3LEAVES recording (available in 200 copies) to render the Alentejo of Portugal into compelling sound form. A number of years ago, he produced field recordings of walks taken through New York City, Los Angeles, and rural Pennsylvania; recent projects have reflected a growing interest in the ambiences of spaces, and to that end he's created portable spaces replete with their own audio environments. As beneficiaries of the Foundation OBRAS, an art residency program in Portugal, Sherk collaborated with painter Pat Badt on an installation titled Cor + Som (Color + Sound) based on their Alentejo experiences that was presented at the Castle of Evoramonte; as a document of the audio portion of the installation, Alentejo in effect exemplifies both the characteristics of a self-contained audio environment and walking tour, given how effectively the recording's seven pieces constitute a sound portrait of the locale.
The Alentejo itself is a windswept and sparsely populated place filled with ancient olive trees, pastures, dusty fields, prehistoric stone sites, orchards, and a stone castle, and as such impresses as a setting that has remained pretty much the same for centuries. Though Sherk generally refrains from imposing himself too conspicuously on the field recorded material, manipulations are sometimes evident, albeit subtly. Notes included with the release clarify that “Crickets,” for example, contains the insects' sounds only, yet also state that he “slowed them down and stretched them out”; similarly, “Silent Valley” incorporates recordings of rustling grass, wind, insects, and birds, but he also “used the moments of sound to generate corresponding sine tones.” As a result, whereas “Sheep” registers as a relatively untainted sound portrait of a dog protecting a herd, “Silent Valley” sounds closer in spirit and form to an electronica track equipped with echo-heavy synthesizer flourishes and minimal beat elements. There's little question that contributions by Sherk also figured into the content of “Drone,” an eight-minute soundscape that sees insect and bird sounds undergirded by industrial hum.
Elsewhere, with accents of light streaking across a cricket-laden backdrop, Sherk captures the nocturnal character of the region in “The Night of Falling Stars”; “Castle” feels hermetic by comparison when the Evoramonte structure's thick stone walls and high vaulted ceilings turn a standard conversation into a reverberating mass of pure sound. Needless to say, the seven pieces, as distinct as they are from one another, enable the listener unfamiliar with the locale to feel as if the Alentejo region has been explored, even if the ‘visit' is one refracted through Sherk's presentation design.
June 2017