Hub-Capped Diamond Studded Halo

Mute, DIGITAL ART CRITIQUE. Issue 7, Winter 1997.

Pauline van Mourik Broekman

Kaffe Matthews’ performances have flirted with the unpredictability of these kinds of live situations for a while. Using live, recorded sounds rather than a pre-recorded stock of samples, each of her performances is very specifically tied to a place. Using software called LiSa (which stands for live sampling), she’ll gradually incorporate and treat sounds from the environment with those of her wired-up violin. The tranquillity with which she improvises is amazing. Nothing like the kind of horro vacui such an open situation could inspire, more a wry amusement at the sounds that arrive out of nowhere and then disappear. Each one suggests new narratives, action or atmospheres which, like a sensitive and skilful medium, she either gives a voice or patiently muffles.

(extract from review of the Rude mechanic event at Beaconsfield gallery, London)