Project DIVFUSE is presenting its second off-site event and a first one at The Horse Hospital. Bringing together several artists who have exhibited or performed at DIVFUSE micro project space in Lower Clapton E5 since its doors first opened to the public in July 2021, this evening will showcase sound inspired films.
Doors: 7:30pm [event starts promptly at 7.45pm]
Tickets: £14
Project DIVFUSE is presenting its second off-site event and a first one at The Horse Hospital. Bringing together several artists who have exhibited or performed at DIVFUSE micro project space in Lower Clapton E5 since its doors first opened to the public in July 2021, this evening will showcase sound inspired films. It is also one of the events to celebrate the 5th anniversary of Project DIVFUSE.
Programme:
Part 1 (7:45pm to 8:20pm)
Matt Harding – Infinite Ballard (2016 – 2025) (10 minutes)
Livia Garcia - Two film scores (2024 – 2026) (10 minutes)
Lynn Loo - Conversations 2 (2026) (13 minutes)
Part 2 (8:40pm to 9:25pm)
Caroline Kraabel – London 26 and 28 March 2020: imitation: inversion (2020) (41 minutes)
Part 3 (9:45pm to 10:30pm)
Blanc Sceol + Ross Adams – An Ear to River – recovering landscape (2023, revisited in 2026) (25 minutes)
Guy Sherwin – Three Films about Music: Silent Jazz (2025), Orchestra (2025), and Pause (2025) (19 minutes)
Livia Garcia is the founder and director of Project DIVFUSE. Livia’s own art practice is mainly to create silent geometrical film scores for musicians to interpret. Over the years, she has worked with the London Improvisers Orchestra, ONe_Orchestra New, Sue Lynch, Adrian Northover, Steve Beresford, Caroline Kraabel, Dave Tucker, the New Wind Festivals and so on. She was invited to perform with Ian Thompson, Stephen Shiell and Richard Wilson at the Sound Image Festival, the University of Greenwich in 2025. Livia is also a practising railway civil engineer and hence her interests in merging arts and science, structures and concepts. Originally from Macau, she received a full scholarship in 2008 to pursue her MA(Fine Art) at The University of Leeds, UK.
For this event, Livia will be presenting two film scores - one with recorded sound in 2024 by the All Good Sound Workshop group and one with live response at the Horse Hospital by Caroline Kraabel.
www.divfuse.com
www.liviagarcia.com
Instagram @divfuse @garcialivia
Matt Harding is an artist and musician working with image and sound, and has released several albums and scored film soundtracks. He has also exhibited and performed at Cafe Oto, The Serpentine, Klingt Gut Hamburg, The Freud Museum, The Old Operating Theatre, Platform Theatre Kings Cross and Ramsgate Festival of Sound amongst others. Matt also runs the Thames Submarine, a platform for curating artists whose practice uses sound as an integral or evocative element.
Exploring themes of ephemerality, movement and gesture, Infinite Ballard (2016 –2025) are short duration works that explore interplay and relationships between sound, movement and image. Taking a heavily processed based approach, the films frequently are the result of action, movement and improvisation with found objects and materials, shot and edited impulsively using social media software, they adopt a naive quality and DIY aesthetic. Infinite Ballad - a stitched together catalogue of gestures and movements, sonic and non-sonic acts.
www.mattharding.co.uk
www.thethamessubmarine.com
Lynn Loo is a moving image artist from Singapore, currently based in London. She explores the interplay of moving image and sound, investigating patterns, rhythms, and the poetry inherent in visual and sonic movement. Her work spans single-screen films, moving-image installations, and multi-projection performances, creating connections between representation and abstraction.
Conversations 2 (2026) is an impressionistic collage of moving images and sounds intuitively captured over the years. A mix of 16mm and digital images with recorded sound.
Instagram @lynnloofilm
Caroline Kraabel founded a large improvising group made up of trans-masc, trans-fem, non-binary, and women improvisers: ONe_Orchestra New in 2022. Runs monthly improvisation labs. She has performed/recorded with Khabat Abas, Susan Alcorn, Bex Burch, Dee Byrne, Iris Casling, John Edwards, Damsel Elysium, Charlotte Hug, Charlotte Keeffe, Hyelim Kim, Olga Ksendzovska, Zhuyang Liu, Louis Moholo, Maggie Nicols, Mariá Portugal, Max Reed, Cath Roberts, Mark Sanders, Rowland Sutherland, Pat Thomas, Saadet Türköz, Sarah Washington, Cleveland Watkiss, Solène Weinachter, Veryan Weston, Robert Wyatt, etc.
Her sound film, London 26 and 28 March 2020: imitation: inversion (2020), won the 2021 Ivor Novello Award for Best Sound Art Composer. This work puts sound before image. It takes the diegetic sound of Covid-empty streets and makes it first into something as identical as possible (using sax and voice) and then into something that is measurably the OPPOSITE of the original diegetic sound (high where the original is low; loud where it is quiet), using sax and double bass plus ducking.
Credits: Caroline Kraabel sound and image. John Edwards, double bass. Clement Kraabel, editing. Dedicated to Carol Chant.
Blanc Sceol (Stephen Shiell and Hannah White) are an artist duo who compose, perform and record experimental music, and work with ‘Orbit’, a unique, self-made two player instrument. They also instigate participatory gatherings, connecting their sound work with environmental awareness and creative actions on behalf of the more-than-human, and exploring healing modalities as tools for collective transformation. Their work is a spiral within the space-time continuum.
“Our regular practices with river are invitations to ourselves and others to gather, listen, observe and learn through a variety of containers, from workshops to walks, to reading groups, deep listening, live transmissions and collaborations. Through each of these actions our attempts to understand and support river grow and change as we uncover more about the forces at work, both within and without.”
www.blancsceol.co.uk | www.surge.coop
Instagram @blancsceol @surge_coop
Ross Adams makes music videos, live visuals and album artwork. Using combinations of stage cameras, abstract studio footage, analogue video processing and other magic, Ross mixes saturated, distorted and altered perspectives to augment live music performance. Ross has worked with labels such as Hands In The Dark, Rocket Recordings and State 51.
An Ear to River – recovering landscape (2023, revisited in 2026) is a film that arises from the fertile bed of Channelsea river, and the mud banks of Channelsea island. After the bend there’s a dead end, an ecotonal community alive with self-seeded inhabitants, effluent overflows, waste waters, mud, industrial detritus, people in search of rest, tidal flow. The sounds have been gathered by Blanc Sceol through their on-going site specific work there since 2018. Ross Adams’ uses drones to circumnavigate the island as a solitary, exploratory flowing eye. This witness reaches around, above, inside and through its contrasting elements – the detritus of the abandoned landscape in conversation with dense new growth. The film came out of an audio-visual performance collaboration created for the EnCounters x Music and Other Living Creatures series, curated by Helen Frosi and Cafe OTO Projects.
Instagram @_rossadams_
YouTube @rossadamsvideo
Guy Sherwin
‘I first studied painting before becoming attracted to film by the possibilities of visual movement; later that interest extended to sound. The films have taken numerous forms - silent, black & white series: Short Film Series, Animal Studies; projection onto special screens: Paper Landscape, Man with Mirror; longer form films: Messages, Views from Home, Under the Freeway; multi-projection performances with visual sound: Mobius Loops, Vowels & Consonants -made with Lynn Loo; looped installations: Three Trees, Clock Screen, Metronome.
What links these diverse approaches is the impulse to find out what happens when an idea is explored. It’s the process itself, and my response to it, that largely determines the direction each work takes.’
For this event, Guy is presenting Three Films about Music:
Silent Jazz 3min (2025)
Orchestra 8min (2025)
Pause 8min (2025)
‘Many of my films evolve from a single shot, and quite often that shot is an immediate response to a situation that is unfolding in front of me. This is about the closest I get to improvising, a musical form I sometimes aspire to, but is difficult to attain as a filmmaker. That was how I shot the first of these two films, Silent Jazz and Orchestra, using the convenience of the mobile phone in my pocket. I immediately sensed that something could be done with the situation I found myself in, but only after studying the shots on my computer do I discover the direction they might take. The third film Pause clearly involved some planning, but again, after the initial recording, I had to work with the fragments of sound and image to see where they might lead, in a lengthy process of trial and error.’