Have you ever breathed a frequency? Local award-winning sound artist, composer and visual artist Gary James Joynes has. Under both his real name and his stage name, Clinker, Joynes’ exploration and experimentation of sound in his music and art creates a whole-body experience that his audience can see, hear and feel.
Joynes produces many live pieces that have both a minimalist audio component and with an evolving visual. Although neither component is created specifically as an accompaniment to the other, both ingredients are essential for the success of the piece.
“I kind of work in both worlds,” Joynes says. “I never just create one. The audio and the visuals are both integral to the art.”
His performances adopt a stimulating term known as “synchresis,” the forging of something heard and something seen. This means that the human mind will actually make a non-existent connection between sound and visuals and believe they are completely â€œin synch,â€ with each other.
“Those are the moments I search for live,” he says. “Triggering the video at the opportune time with sound is to create that synchresis. It doesn’t always happen live, but that’s the risk involved.”
A perfect example of synthesis is one of his Joynes audiovisual pieces titled Soundbursting. The piece is improvised and is a combination of pre-recorded footage of sand changing into unique patterns with accompanying tones created by his Minimoog.
Joynes’ musical background was rooted in progressive psych-metal until he found the interestingly austere world of the synthesizer during his teenage years. His taste for the minimalist synth sound materialized after listening to artists like John Cage and Brian Eno and discovering the Raster-Noton collective, a German electronic music record label founded in the late ’90s.
“I couldn’t believe there was a sound that on the surface seemed like nothing was really happening, but then once that symphony of subtlety, as I like to call it, opens up with so many layers,” he explains. “It’s like a whole other level of listening for the human brain.”
Joynes has used his prized 1976 Minimoog Model D (regarded as one of the most sought-after synths created) as his primary instrumental sound source for close to 14 years now. He has continued to embrace the synthâ€™s natural aging process while pushing it into outlandish sonic territory.
“I have a very intimate relationship with the Mini,” he says. “I may slowly be running it to its death, but it will always be my desert island synthesizer.”
Thu, Mar 3 (9 pm)
With Jonathan Kawchuk, Mark Templeton