Madeline Hall is an artist, studio member and former Director at The Royal Standard. Her practice is located at the intersection of sculpture, sound, video and installation. Guiding her activity are sustained interests in the phenomenology of space, gender identity and DIY culture. Throughout Madeline’s multi-disciplinary practice, she employs composition and materials as mechanisms to explore the nuanced and sometimes problematic nature of our lived experience. Environments and encounters are decoded and synthesised to create precarious, evocative relationships.
Madeline is a producer and DJ, performing under the name AKASA. Using a range of analogue and digital production techniques, she primarily composes and performs using synth hardware. She performs regularly around the UK. Other projects include a performance for Here, Now (Glasgow International 2016) and Visions of the Future (S1 Studios, 2016). She has upcoming releases on Liverpool label Pale Master and Upitup Records.
Madeline is co-founder of collective SEE-SAW, who produce interactive and immersive live drawing and sound performances. Exploring the relationship between sound and image, SEE-SAW collaborate with sound-based artists, and manipulate DIY drawing machines to generate new, live narratives. Recent projects include After Manchester Hours (Manchester Museum, 2016) and SPACE|SOUND #1and #2 (FACT, 2016; The Bluecoat, 2014).
Madeline’s selected exhibitions include and projects include The Happy Jug (Unity Theatre, Liverpool, 2015), Scouse House (Syson, Nottingham, 2015), d’Caffeinated (Sluice Art Fair, London, 2015), Combines #1 (Model, Liverpool 2014), Urban Alchemy (Air Space, Liverpool, 2014), Here Be Monsters (following aresidency at The Florence Trust, London, 2013), Tools (Sluice Art Fair, London, 2013), CAVE Art Fair (Liverpool Biennial, 2012), Two of Us (Quatier am Hafen, Cologne, 2012), Parts Unknown (following a residency at Embassy, Edinburgh, 2011); NO SOUL FOR SALE (Tate Modern, London, 2010) and Global Studio (TheBluecoat, Liverpool, 2010).