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)