Absorbing

Today, I went to the Tate Modern, just for fun. Actually, was my second visit to Tate this year so far. I really enjoy being there, going to the gift shop where I can flick through the books they have about architecture, painting and installations - for example; or even going to free expositions where it is possible to see works that create dialogue with the materials and spaces of everyday buildings or artist around the world that have examined the modern city in a range of works. It is really enjoyable to go to the rooftop and just being there seeing all the buildings of City of London, the Thames and all the wonderful views. Even, all the journey is enjoyable: the walk with the Thames in parallel, or, by other side, the Saint Paul’s Cathedral and the Millennium Bridge.

I decided, just focus in one exposition. In Blavatnik Building, level 4, west side in the George Economou Gallery - Living Cities, I found a video about a South-Indian artist - Sheela Gowda. In this video she talk about her work and all the process of finding different materials and connect them as one to create a new piece of art, and how she framed his work.

In this video, she is focused in her installation called Behold (2009). She wanted to select two different materials, one related with humans and the second related with industry. She explained that in India the taxi drivers put human hair in their cars as an amulet for luck. So, she decided to do the same and made Behold with real human hair and car bumpers (image 1).

 (Image 1 - Sheela Gowda Tate Moder’s Intallation - Human hair and car bumpers)

(Image 1 - Sheela Gowda Tate Moder’s Intallation - Human hair and car bumpers)

Nevertheless, in this video she said two sentences that resonated in my head all my journey back home. The first one:‘you absorb from finding things that is new or surprising and not everything you find becomes materials for work, but there is a moment when an idea and a material comes together’. I realised, on the one hand, I am always absorbing different ideas, as for example, when I am talking with a friend, discussing a social subject; or different cultures, as for example, talking with people from different parts of the world (London is a good example of a multicultural city where it is possible to find people from different parts of the world, talk with them and discuss different subjects as social, culture, politics or arts). On the other hand, I am always absorbing other types of art, as for example, paintings, photography, architecture, literature, sculpture and installations.

The second one: ‘The material also has a different context of its own. So, I try to transform the material without changing its identity to much.’ I noticed, in my music, a connection with the idea of having different types of materials and trying to transform them without changing its identity to much. However, try to create a new gesture keeping my own identity using those materials. Also, I could be interest in one specific type or genre of music but I do not want to be a composer related to those. In a way, I want to learn more about some unique universe without transforming myself into it.

Daniel Davis

Daniel Davis, Rua Carlos Pereira, Lisboa, Lisboa, 1500-139, Portugal

Começou a interessar-se pela Composição ao mesmo tempo que estudava Saxofone no conservatório, tendo como tutor Professor Francisco Loreto e professor Robert Andrés. No ano de 2011 ingressa na Escola Superior de Música de Lisboa no curso de Composição sob a orientação dos Professores Sérgio Azevedo e António Pinho Vargas. Teve aulas de Orquestração, Técincas de Composição, Análise, Sociologia e Estética Musical e História da Musica dos Séc. XX e XXI com os Professores Roberto Alejandro Peréz, Carlos Marecos, Carlos Caires, João Madureira e António Pinho Vargas. Em 2013 ganhou a Menção Honrosa do Prémio de Composição da Antena 2 / SPA e no mesmo ano ganhou, também, a Menção Honrosa do II Prémio de Composição da Banda Sinfónica Portuguesa realizado na Sala Suggia na Casa da Música do Porto. Em 2014 termina a licenciatura na Escola Superior de Música de Lisboa com a nota de 19 valores, sendo atribuída em unanimidade pelo Júri do exame. Em setembro do mesmo ano (2014) ganha por unanimidade o 1º lugar no Prémio de Composição SPA / Antena 2 com a peça “…from the last breath”, tornando-se bolseiro da Fundação Gulbenkian. Como profissional na área da Composição, produz um Teatro Musical no Castelo de São Jorge, encomenda da EGEAC e Castelo de São Jorge para a temporada 2015, participou como compositor no Prémio Jovens Músicos com a peça obrigatória para Saxofone, participa no aniversário como Compositor do Grupo Coral Regina Coeli, participa no projecto “10 Compositores, 3 Gerações 2 Quartetos” produzido pelo Paris Guitar Quartet e Quarteto de Vozes de Lisboa e foi o Jovem Compositor Residente da temporada 2014-2015 da Orquestra de Câmara de Cascais e Oeiras (OCCO), reconhecido num concurso realizado por membros da OCCO no passado dia 15 de Novembro de 2014. Em 2015 foi nomeado para o Prémio SPA Autores na categoria Música - Melhor trabalho de música erudita com a peça “Courage…to follow the way”. Actualmente frequenta o segundo ano do Mestrado na área de Composição na Escola Superior de Música de Lisboa, sob orientação do professor Luís Tinoco. Academicamente, tem colaborado em várias Teses/Dissertações de Mestrado, como editor de partituras e análise de partituras.