
Deep Valley is a new work by Australian artists Seaworthy (Cameron Webb) and Matt Rösner, composed and recorded during a week-long residency at Bundanon Art Museum on the south coast of New South Wales.
Gifted to the Australian people in the 1990s by renowned artist Arthur Boyd and his wife Yvonne, Bundanon provides a creative sanctuary amid a distinctive Australian landscape—on the banks of the Shoalhaven River, surrounded by sandstone cliffs, dense forests, and unique wildlife, alongside historic studio buildings used by Boyd and generations of artists.
Webb and Rösner spent the residency recording the surrounding environment and weaving these sounds with guitars, piano, and electronic processing. Deep Valley was inspired by Boyd’s remark, “You can’t own a landscape,” reflecting a desire to capture ecosystems in states of flux and transition.
Their previous works on 12k—Two Lakes (2010) and Snowmelt (2021)—explored coastal wetlands and alpine habitats. While Deep Valley shares this approach, instruments play a larger role, interacting with birds, waterways, and wind-swept woodlands to create an immersive soundscape.
Boyd understood the fleeting, ever-changing nature of landscape—a concept mirrored in the aural environment. In a modern world dominated by visual media, Deep Valley invites listeners to step into a quiet, ephemeral space, offering a brief but profound respite from the digital zeitgeist.
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Deep Valley is a new work by Australian artists Seaworthy (Cameron Webb) and Matt Rösner, composed and recorded during a week-long residency at Bundanon Art Museum on the south coast of New South Wales.
Gifted to the Australian people in the 1990s by renowned artist Arthur Boyd and his wife Yvonne, Bundanon provides a creative sanctuary amid a distinctive Australian landscape—on the banks of the Shoalhaven River, surrounded by sandstone cliffs, dense forests, and unique wildlife, alongside historic studio buildings used by Boyd and generations of artists.
Webb and Rösner spent the residency recording the surrounding environment and weaving these sounds with guitars, piano, and electronic processing. Deep Valley was inspired by Boyd’s remark, “You can’t own a landscape,” reflecting a desire to capture ecosystems in states of flux and transition.
Their previous works on 12k—Two Lakes (2010) and Snowmelt (2021)—explored coastal wetlands and alpine habitats. While Deep Valley shares this approach, instruments play a larger role, interacting with birds, waterways, and wind-swept woodlands to create an immersive soundscape.
Boyd understood the fleeting, ever-changing nature of landscape—a concept mirrored in the aural environment. In a modern world dominated by visual media, Deep Valley invites listeners to step into a quiet, ephemeral space, offering a brief but profound respite from the digital zeitgeist.
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