This project sought to reveal music in dialogue with Antony Gormley?s work, and to take allusions to structural forms and concepts proposed in the sculpture as scaffolding upon which to weave fragments of real memories.? The music also considers Antony?s related preoccupations with aura and matrix, imprint-absence, trace and shadow.

Memory is proposed as the principal phenomenon that expresses the sculptor?s interest in the paradox between human bodily limits in a physical sense, and the insubstantial, (immeasurable?) dimensions of remembered experience.? It can be understood as a field that surpasses individual physical edges, and one that can be collectively shared and whose constituent elements can be activated to excite larger areas of resonance with appropriate prompts.

I have attempted to express resonances with these ideas in music and specially selected text through aspects of St Augustine?s reflections upon memory as set out in his Confessions, Book X, chapters VIII and XVI, which I use as a broad structural template. In this way, St Augustine?s words will be for the most part ?felt? as an absent trace or shadow, their primary residue left as discursive areas used as ?headings? with which to roughly order a series of real compiled memories, broadly in the trajectory of an expansion.

The music was premiered in 2008 in Antony Gormley?s studio to a large, invited audience, by countertenor Nicholas Clapton and the Kreutzer Quartet.