Monica Lundy – No. 3: I, who at dawn at Montalvo, in my underwear, encountered the song of coyotes
Dimensions: 69.7 x 90.5 x 4″
Media: burned drawing on Fabriano paper
Inspired by the voice of the natural world, international collaborative duo Monica Lundy and Daniele Puppi combine their distinctive practices to create monumental installations that are based on live field recordings. Puppi, an Italian multimedia artist, and Lundy, an American-born painter, interface through recording audio samples in nature, which are then used as source material for creating visual works in the studio. Upon transcribing the audio tracks into visual sound waves, they then work together to burn the image onto over-sized sheets of paper. The finished result being an installation consisting of a large-format “burn drawing” with the option of the accompanying audio on which it was based. In accordance with the #CreateArtForEarth project, Lundy and Puppi reflect upon mankind’s destructive interference with the natural world, and question how we can better exist alongside nature rather than in opposition to it? How can we, the artists, help demonstrate to have a deeper respect for the natural world and all of its creatures, as opposed to disregarding them? Through this lens, Lundy and Puppi approach the natural world they document, not as observers, but as participants in it. Each installation captures a unique point in time, in which the audience can listen to the sound of birds, crickets, frogs or coyotes, accompanied by the almost imperceptible acoustics of the artists walking quietly upon the ground, or through the grass. Thus, the artists’ presence within the natural landscape becomes an integral component of the work.
This piece, titled “No.3: I, who at dawn at Montalvo, in my underwear, encountered the song of coyotes” is based on a field recording that recently took place while the artists were in residence at Montalvo Arts Center in Saratoga, California. The audio track on which this piece is
based was taken at dawn, and documents the dawn chorus of birds, footsteps moving through grass, and two coyotes that were calling to each other in a nearby ravine. It was a moment of synchronicity; occurring during the liminal space between nighttime and daytime when the rhythm of the nocturnal and diurnal coalesced. In that instant, there was a palpably strong connection between the two individual coyotes who were calling to each other, a convergence between day and night, and a union between the artists and the natural world. For a fleeting
moment, all of these elements were in harmony, underlined by a profound sensation of how wondrous this living world truly is.