Girl in a Forest

Liria

Utilising Singapore's architecture and natural spaces as points of immersion into a fantasy world.

 Application to NAC ArtsXTech

I am

Avik Chari

Avik_Chari-Headshot.JPG

Avik Chari is a composer and sound designer from Singapore

whose work focuses on sound installations and interactive music.

My work

Avik Chari is a composer and sound designer obsessed with non-linear and interactive media. He embraces the use of space as a tool for musical structure and story-telling through his sound installations and electro-acoustic works. He finds comfort in exploring the fun concoction of traditionally "classical" instruments with electronics and also writes for video games and podcasts including an Australian podcast called Shoes Off.

Previous Sound Installation Work

Journeys - an interactive, timed sound installation by Avik Chari, where audience members got a choice of what art (placed around the room) they liked the most. Each artwork was represented by a piece of music and interesting combinations were found as the audience picked different works - thus adding up to an audience controlled piece of music.

Recent Music

Avik Chari - Playlists (July 2020)

Playlists in an album of electro-acoustic music that bridges the gap between contemporary classical and electronic music, combining traditionally "classical" instruments with gritty electronic sounds and textures.

Recent Video

Extended Play is piece from my album Playlists that blurs the difference between electronics and acoustic instruments

Upcoming Music

a corrupted but teal forestAvik Chari
00:00 / 05:14

My Idea

Liria

Singapore is filled with unique spaces, both indoor and outdoor that highlight its rich cultural diversity, architectural history and progress, and connection with nature. With the recent "Light To Night" Festival, we saw how animation and sound design could change a space - elevating it to an almost meditative experience. Liria aims to add on to this, by employing more interactivity. Audience members will be able to alter the visuals and sounds in the space around them, becoming a part of the art as opposed to just experiencing it.

 

One key aim for Liria is to be able to achieve this with relatively low tech – and thus manageable in non-standard locations such as residential buildings, parks and even local forests. I would like to expand the concept of a "performance venue" from a space that has built specifically for performance to a performance that has been created specifically for a space.