“This work, three years in development, is beautifully stripped back. And it is in this peeled back state that clarity is seen. It is in the simple pendulum swing of a light above Yap and Umiumare’s heads as they stood side by side…Simple shadow play dancing across the form, that gives the impression of altering both the perception and experience of time…The soundscapes created by Matthew Ginghold served as the final magnetic lure, and throughout the performance my eyes travelled between both dancers and Gingold, seated in the corner and lit by the glare of the computer screen.”
Gracia Haby – Fjord Review – High Up In The Trees
16. October 2014
“Inspired by ‘the liminal spaces between the visible and the invisible’, Zero Zero attempts to bring an aspect of the subconscious psyche into plain view, providing a space for the white noise of the mind to be explored in its many facets…The shifts between fluid free-form movement and frantic repetitive motions are nicely punctuated by Matt Gingold, who uses both ambient instrumentals as well as raw earthy sounds, such as shaking dried leaves, to change the depth in mood and illustrate the nature of the act and its habitual or trance-like nature.”
Nithya Iyer – Melbourne Arts Fashion
16. October 2014
“What follows is an intensely meditative duet, heightened by Gingold’s percussive score and the low lighting. It moves from the quotidian to an evocation of the sacred.”
ABC Arts Review: Zero Zero
16. October 2014
“Zero Zero is an absorbing puzzle of structure and feeling…We advance, one distinct movement after another, each like an abstract representation of a block of time, and each associated with a particular feeling of restraint or discipline. But structure is tested, too, and discipline resisted; there is a mood of tension, even disquiet.Yap and Umimare both draw on their respective ancestries, Malaysian and Japanese, while Matt Gingold, who creates a complex live soundscape, adds a touch of modern post-rock dharma. Electric guitars suggest distant zithers, and the jangling of a symbols is something like prayer bells. Some very snazzy video projections extend the layering of ancient and modern. If it doesn’t quite add up to the sacred, it does at least gives some sense of how far the sacred has receded.”
16. October 2014
“Matthew Gingold’s sound compositions are sparse and otherworldly. Zero, Zero excels in moments of simple physical activity…the performers gradually forcing the movement to a point of grotesque shapes and excessive movement. Yap and Umiumare are stunning in their individual modes of expression, revelling in Zero, Zero‘s meditative framework.”
Jordan Beth Vincent – Sydney Morning Herald16. October 2014