British artist internationally recognized combining kinetic sculpture and sound into a
unique art form.
He’s one of the greatest exponents of the so-called "sound art" and one of the pioneers
of the sound exploration applied to contexts of visual art.
Since the end of the sixties Eastley has been fascinated by the relationship between
music, art and environmental forces. His sound sculptures are situated on the border
between natural environment and human intervention and he uses the driving forces of
wind, water and ice.
He began to study this relationships in his work, through the construction of kinetic
machines driven by natural agents and, consequently, his career has opened up to new
areas of exploration and creative philosophy.
He studied painting and graphic art at Newton Abbot Art School and earned a degree in
Fine Arts (1969-1972) at Middlesex University (formerly the Hornsey School of Art).
He has given exhibitions in international contexts, and his work is represented in the
permanent collection of the Centre for Art and Media in Karlsruhe, Germany.
It 'also very well known as a musician and inventor of instruments, the most famous of
which is the electro-acoustic monochord "The ARC". He has given concerts both as a
soloist and with numerous and eclectic musicians including David Toop, Evan Parker,
Brian Eno, Paul Burwell, Hugh Davies, Steve Beresford, Peter Cusack, Thomas Köner,
Eddie Prévost and Spaceheads.
Since 2003, he participated as an artist in the Cape Farewell Climate Change Project,
for which he created a series of installations, compositions and performances.
He is currently Senior Researcher of Literature and Philosophy at Oxford Brookes
University, and investigates the phenomena related to the wind through the practice of
art and historical research.
It 'also currently engaged in a project, Audible Forces, which crosses the UK together
with a group of artists that uses the wind as an energy source.
© 2013 Alis

Different materials build a tapestry of sound that permeates all corners of the space and show us how the kinetic movement applied to the production of sound generates a unique experiential plane.