Presenting sound and light in new forms, the Arts House hosted the Spectral, a one-week season that delves into the interface between sound and light.

Arts House Artistic Director, Emily Sexton, says Spectral is a visual spectacular. “We cannot wait to have this collection of artists at Arts House, in particular the next generation of outstanding female artists who are making their mark on the electronic and experimental audio-visual music scene.”

Examples of the works on show include Quadra by Robin Fox and the premiere of Echoes by Meagan Streader will create transformative worlds that beam with light.

Echoes and Quadra will culminate in two nights of special gigs (17 – 18 April 2019): Spectral: between light and sound that feature works never before seen in Melbourne, as well as new commissions for the Arts House - evolved iterations of SIGHT by Jannah Quill and Salt by Hanna Chetwin.

See light and sound reinvented in Spectral in these FREE exhibitions and installations this April and read our review below!


Quadra – Robin Fox

Echoes – Meagan Streader (world premiere)

Dates: 11 – 18 April 2019

Times: Mon – Fri; 12pm – 6pm, and Sat – Sun; 11am – 4pm

Spectral: between light and sound

17 – 18 Apr Single Origin – Robin Fox

17 – 18 Apr SOLID (LOUD) MATTER – 2 – Kusum Normoyle

18 Apr SIGHT – Jannah Quill (world premiere)

Location: Arts House, North Melbourne Town Hall – 521 Queensberry Street, North Melbourne

Admission: $25 – $35 (plus transaction fee)

ArtsHouse Website


If you could have a collection of different light and sounds experiences all in one place, this show would be Spectral. Combining a collection of different light and sound experience, beginning with the installation work of Quadra and Echoes, both of which are free installation works that accompany the fantastical Spectral – the audience is taken into this other world of sound and light.

Beginning with the visual feast of Salt and Opaquing, which is a world premiere by Hanna Chetwin, and done in 16mm film, this work has footage that is earthy and elemental, and on a microscopic level goes back to the initial creation of cells and membranes. This work is accompanied by live music and is confronting and thought-provoking.

In contrast to this, Solid (LOUD) MATTER – 2, Kusum Normoyle is a violent challenge to what sound and music should be, and creates a room that vibrates with anger, confusion, not to mention the running mad person.

The final piece of Single Origin sees the use of laser lights and sound combine to make a different landscape for the audience, making a combination of sound and experience that is partly 1980's science-fiction film, partly dance-party reality. Playing with light and colour very powerfully, the performance pushes the audience to rethink the limits of light and sound and the relationship between experiencing audible sounds and vision together.

These performances push and question the need for narrative and cohesive understanding and make the sensory experience (and our perceptions of it) centre-stage in their shows, and it leaves the audience questioning and furthering our understanding of light and sound.

Rating: 3.5/5 Stars