Paul Abbott works with acoustic drums, synthetic sounds, performance and writing.
Paul's practice based PhD explores the imagination through interrelationships of embodied musical performance and writing. This is approached primarily through his practice as a performing musician. The research is concerned with how the sonic, semantic and physical, effect each other, in musical play. Alongside a thesis sonic and written outcomes are combined in two publications, called Ductus and Nsular and a speculative instruction for future performance.
Recent and ongoing artistic collaborations with: Seymour Wright, Keira Greene, Will Holder, Anne Gillis, Rian Treanor, RP Boo, The Creaking Breeze Ensemble, Nathaniel Mackey, Ute Kanngießer, Evie Ward, Billy Steiger, Micheal Speers, Cara Tolmie. Other collaborators include: Benedict Drew, Pat Thomas, Joel Grip, Brandon La Belle, Eddie Prevost, Steve Noble, Evan Parker and Otomo Yoshihide.
Paul has performed internationally, at Cafe OTO, Talbot Rice Gallery, Whitstable Biennale, Whitechapel Gallery, Raven Row, Tate Modern, Counterflows, Next Festival, KW Institute Berlin, Serralves Porto, Empty Gallery HK. He has records released by OTORoku, Empty Editions, Pleasures of The Text, and published with Cesura//Acceso and F.R.David.
Recent releases and publications include: 'Deorlaf X' (XT); 'Our/s Bouture(s)' (with Anne Gillis & Seymour Wright); 'Fugtive Equation' (with Nathaniel Mackey & Creaking Breeze Ensemble); 'Nsular (solo); F.R.David, "Very Good*" (co-edited with Will Holder); 'Ductus' (solo), '31.12.18' (with XT/RP Boo); 'Palina’Tufa' (with XT) and 'Stop Constant' (with Micheal Spears). Paul was a co-editor’s of Cesura//Acceso.
Tutor: Creative Coding for Sound – UG and PG (2020/21)
Paul's practice based PhD explores the imagination through interrelationships of embodied musical performance and writing. Written and sonic outcomes emerge from these complex interactions. This is approached primarily through his practice as a performing musician. The research is concerned with how the sonic, semantic and physical, effect each other, in musical play.
At the core of this research is the idea that rhythm expresses a growth process. Rhythm is used as both a method and a practice, to explore musical play, by way of repeated returns: to generative moments in non-standard musical and imaginative movement.