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Temporal Landscapes, 2018

Audio/Visual Artwork, 7 mins

The Land works its way into the man…It becomes large, alive like an animal; it humbles him in a way he cannot pronounce. It is not that the land is simply beautiful but that it is powerful. Its power derives from the tension between its obvious beauty and its capacity to take life. Its power flows into the mind from a realisation of how darkness and light are bound together within it, and the feeling that this is the floor of creation.

Barry Lopez, Arctic Dreams, (P. 392-93)

Exhibition View, New ERA, Solstice Arts Centre 2020

Temporal landscapes is a 7 minute looped audio/visual artwork created from original footage gathered from several glacier locations in Spitsbergen, Svalbard (Borebreen, Sveabreen, Esmarkbreen, Nordenskiöldbreen, and Wahlenbergbreen), as well as embedded hydrophone recordings provided by polish Scientist Oskar Glowacki.


Doolin merges a series of overturned and subtly reversed video sequences depicting icescapes evanescently morphing through various states.  While documenting in differing locations in Svalbard, Doolin was crucially inspired by the haunting acoustics produced by glaciers. These dense bodies of ice are continually thundering and groaning, creaking and cracking, as they persist to move under their own body weight. The intense sounds emitted by glaciers, coupled with the surrounding sounds of meltwater flow, and the hissing and popping of icebergs as they release ancient air into the sea, are the essential auditory components that make up the unique acoustic signature of a glacier.


Oskar Glowacki and his team of scientists from the Institute of Geophysics at the Polish Academy of Sciences conducted a Hydroacoustic Study of Glacier Calving Events near Hansbreen Glacier, at Hornsund Fjord, Spitsbergen, Svalbard. The pioneering study was conducted using underwater microphones in order to demonstrate how sound can estimate the speed at which a glacier is melting. Glowacki generously shared sound recordings from the study produced by calving events and sea ice deformations, some of which include the ghostly song of bearded seals. Doolin subsequently embedded extracts of these recordings into the accompanying soundscape, in an effort to recreate her personal experiences while referencing the acoustic ecology of the Arctic. 

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