Tony Dudley Evans
“My work with the Power of Four fits in perfectly with all my other work as I see them as interconnected – it’s still ensemble playing but with different repertoire and ‘feel’, but the openness to mining ideas remains the same.”
Qiao Lin Tan
In a world where it feels like injustice and oppression repeats itself in different guises with every news story and social media post, Graffiti Bodies XV reminds us that amongst the multiple layers of shittery, there are always layers upon layers of hope, justice and community to look for as well.
Hugh Morris
How long before we start talking about Elaine Mitchener as a genre?
Kevin Le Gendre
Graffiti Bodies XV is more of a death disco, a thought-provoking if not utterly disquieting commentary on the long history of police brutality in the black Diaspora.
★★★★★
The vocalist travels the full spectrum of the human voice, from subdued sounds of mouth and breath to an exhilarating remix of her own hyper-exuberant electronic soundscape
Ahead of a new Barbican premiere, the experimental vocalist speaks about her practise, disrupting semantic sense and her love for how people say the things they say.
“Bold curating now about bold curating then, Deep Time runs deep and feels vital with satisfying, intermingling art forms.”
“Mitchener’s passions are deeply personal but also resonate with a broader community of artists, curators, writers and researchers who, through sonic and listening strategies, grapple with the question of what it means to pay attention in a world where this capacity is increasingly under threat.”
