Tim Shaw is an artist working predominantly with sound. He presents work through musical performances, installations, walks and site-responsive interventions. He has been lucky enough to make artistic work with Chris Watson, Phill Niblock, Tetsuya Umeda, Dirty Electronics, John Bowers, Tess Denman-Cleaver, Jacek Smolicki and Sébastien Piquemal. Recently his work has been presented at CAMP, Aulus-les-Bains (2019), Fylkingen, Stockholm (2019), NCCA, Moscow (2019) Experimental Intermedia, New York (2018), Cafe OTO, London (2018), Brighton Dome (2018), History of Bosnia Museum, Sarajevo (2018), ARC, Switzerland (2018), bb14, Linz (2017), Stereolux, Nantes (2016), Baltic, Gateshead (2017), Touch Radio (2016), FACT, Liverpool (2016), Eastern Bloc, Montreal (2016) and The Wired Lab, New South Wales, Australia (2016). Tim works as a lecturer in Digital Media at Newcastle University UK.
Points of Failure is an ongoing series of concerts and installations in which I work with miscellaneous objects and repurposed audio equipment to create an audiovisual performance-environment.
By using DIY electronics, found objects, light and sound making circuits, I experiment live with the musical potential of everyday materials, in response to the architectural features of the performance space. Though field recording equipment is often used (e.g. hydrophones, air pressure microphones, electromagnetic coils etc) Points of Failure works entirely with live processes and no prerecorded sound material occurs during the performance.
The event usually takes place in the centre of the venue and expands out into performance space, creating a series of over lapping and intertwined spatialised light and sound relationships.
Points of Failure environments have previously involved horn speakers, light bulbs, popping candy, tesla coils, air horns, spark gaps, satellite dishes, smoke pellets, car horns, water drips, hydrophones, bass shakers, bells, modular synthesisers, self made stringed instruments, balloons, transducers, speaker cones, rain, fans, solenoids, contact microphones, DIY circuitry and motors.
Through the making and unmaking of objects, building hybrid mechanisms for making noise, unfolding a messy and eclectic multi sensory experience a mesmeric, multi-sensory environment occurs one in which sound, light, smoke, smell and movement intertwine.