Tim Barnes

Eastley's wide interest covering sound, painting, drawing and music makes his practice rather distinct. But the crucial element he is 'Absorbed with is movement, which is a kind of ghost, which unites them.'1 This I think is a wonderful link and it appears there is a working model he adheres to when occupied with his work, so as to keep consistently in balance.

Max Eastley
Wind Flutes - Max Eastley

He expresses his unique stance of using movement and time as in music but alongside having visual preoccupations, he also uses colour and shape, so the term sound artist doesn't fully convey his research. It would seem Eastley also evades the general term 'Artist' seeking a more specific term to eclipse what he does.

When working Eastley makes what he calls a 'mental interior model' which is not dissimilar to the four-dimensional structure that composes are known to sometimes apply. This would suggest a heightened awareness of spatiality formed through the agency of sound. Perhaps a method I should consider in my own practice. His musical work is holistic and it runs throughout all of his practice.

In the discourse of sound applied to art and in discussion over sound's digital reproduction, he contributes; 'This is not the actual work but in a sense, it's like a photograph of the work'.1 I would agree. His kinetic work has a certain truth of sounds. I believe there is an honesty to be received from sound produced by simple kinetic physics.



1 Gibbs, Tony. Fundamentals of Sonic Art and Sound Design. London. AVA Publishing. 2007.