SIREN SONG is a collaborative project created by Byron J. Scullin, Hannah Fox & Thomas Supple
Byron J. Scullin
The work of Melbourne practitioner Byron Scullin explores the technological representation and amplification of sound as well as its properties as a physical presence. Operating in an ambiguous space where sound transitions into noise, Scullin’s sonic environments offer an experience of mass and multiplicity, often representing attempts to hear the unhearable.
After an interest in synthesis at a young age, Scullin was mentored by producer and composer Francois Tetaz. He has since been involved in almost all aspects of audio in his twenty year career, contributing sound to feature films such as Wolf Creek, contemporary dance productions by Lucy Guerin, Gideon Obarzanek, and Lee Serle, and theatre works by David Chisholm, Chamber Made Opera, and Arena Theatre Co. He has created installations for museums and galleries - including Creation Cinema as part of First Peoples at the Melbourne Museum - and produced, engineered and mastered numerous Australian and international recordings. He also works as a sound educator at RMIT and Melbourne University.
A prolific collaborator, Scullin has worked closely with audio-visual artist Robin Fox and video artist Daniel Crooks, as well as Australian composers Anthony Pateras, Marco Fusinato, and Oren Ambarchi. He’s also helped realise sound for notable international artists including Bernard Parmegiani, Tony Conrad, and Steven O’Malley.
Supple Fox is the creative partnership of Thomas Supple and Hannah Fox, founded in 2008. Together, the duo works across the fields of curation and creative direction in contemporary music, sound art and experiential art.
The company’s portfolio of work has included curatorial services for Dark Mofo, Mona Foma, Melbourne Festival, the Tate Modern, Victorian College of the Arts, Glastonbury Festival, Latitude Festival and Melbourne International Jazz Festival.
The company has earned a reputation for its unusual approach of taking all sorts of performing arts out of traditional venues and creating new contexts for staging and presenting work including in nightclubs, in cupboards, in swimming pools, on top of cars, and on boats. Their work has crossed a broad spectrum of outcomes, from painting hundreds of sheep in candy colours for Latitude Festival in the UK, to programming parkour runners at the Tate Modern and putting a thirty-piece choir on a Ferris Wheel.
In the last couple of years, Supple Fox have made a move into developing their own installation work. The company’s work often deals with group dynamics and facilitating connection via collective experience.