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Shelley Parker is a London based artist working in performance, installation and photography. Her practice explores the experiential potential of sound and image through the manipulation of technology and the study of structure and material.

 

Her exhibited work includes Bird Cage, an installation presented at the De La Warr Pavilion as part of the John Cage Hayward touring exhibition Every Day is a Good Day. Additional projects include Cast at the Cast Courts, Victoria & Albert Museum and Suicide at The Dance Card, Lido Projects.

 

She has performed at the De la Warr Pavilion, Bold Tendencies 5 and Flat Time House. Alongside this she has presented collaborative performances with curator and electronic musician Paul Purgas as SPPP at the Barbican, MSPS New Music Festival, Frieze Art Fair 2010 and the Whitstable Biennial.

 

Her DJ debut was at the art inspired club night Nerd with Seb Patane where artists including Wolfgang Tillmans would contribute to the programme. She also performed DJ sets at Tate Britain and the Kinetica Museum. As an output for these projects she runs the experimental electronics label Structure, developed through her own club night, that supports a network of artists exploring aspects of found sound, noise and the legacy of British bass music.

 

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PRESS

 

The Wire, Oct 2011, MSPS Festival

 

 

Filter Feeder – Shopping (Entr’acte E85)  Nick Richardson, The Wire Jan 2011:

 

Shopping is elusive composer Julian Doyle’s canto to honour the loop. On each of the tracks here, Doyle works up short, bar-long cells of chirping synth and analogue percussion, passes them through a simple chain of filters and lets them ride. Loops are like drones: get them right and you’ve got a rich sonic environment that focuses the listener on tiny changes in texture. The key, Doyle suggests, is rhythm: put the bar line where the ear least expects it and your loop will keep morphing, or seeming to, without you needing to lift a finger. On the B side, DJ Shelley Parker gives Doyle a sullen, dubbed-out remix: the loops are screwed to a sizzurp crawl, the synths are voided of pitch, reduced to Pole-style percussive crackle and moored in cavernous bass.

 

 

JJ Charlesworth Art Review April 2010: