Born in the tree-laden outer-eastern suburbs of Melbourne in 1985, and spending his early years in the middle of alpine forest in North-East Victoria, Vincent Giles now spends his time as a sound artist and composer. His work, whether for the concert hall or the outdoors, a gallery space or a lounge room, for instruments or electronics or both, pays close attention to the influence of space and site on the presentation and reception of the work.
Vincent has a keen interest in physics and biology, particularly evolutionary biology. In recent years, this interest has been a driving force in his creative work, leading him to consider the memetic properties of sound art and the role of Universal Darwinism in our experience of sound, which is part of his doctoral research at the Victorian College of the Arts. Similarly, Vincent’s interest in physics has inspired him to consider the physicality of sound as a mode of artistic expression. In light of these interests, Vincent has been accused of being a “materialist”, but he doesn’t mind.
Vincent’s work is performed around Australia and the world by solo instrumentalists and ensembles, who he often collaborates with. Two of these long-term collaborations are Duo Malarkey – a jazz project with flutist Alice Bennett, and an ongoing project with saxophonist Stephen Marton, which is best described as exploratory improvisation. Vincent has composed for theatre, played bass in rock and pop bands, jazz groups, experimental music ensembles and even once in a makeshift orchestra, though the experience made him very uncomfortable.
In 2014, Vincent is again challenging himself to compose and release a piece per week as part of WeeklyBeats, which he completed in 2012, is partaking in a number of residencies, all involving the making of things with sound. Outside of sound, Vincent enjoys cooking spicy food, craft beer, locating pubs that have real ale on tap, attempting to garden, drinking coffee, reading books, and being a part-time recluse.
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