sally ann mcintyre is a hobart-born artist, writer and experimental radio maker, who lives and works in dunedin, new zealand.

working with transmission in a variety of contexts and modes, projects consider sound, ecology, memory and transmission through research-based, curatorial, and artistic investigations, and extend a critical interest in translation, taxonomy, extinction, environment, and museological and archival systems.

sally programmes a micro radio project station (radio cegeste 104.5FM) as a sporadic, mobile, small-radius platform for unstable site-responsive radio art events. 

she is the new zealand programmer for the radia network, which promotes the airwaves as a peer-to-peer exhibition venue for radio art; for each radia season she commissions a new radio art work from a new zealand (or australian) artist and hosts the weekly radia program on the dunedin independent broadcaster radio one 91FM

she also hosts the weekly sound art / experimental radio programme avant gardening 

hr poetry can be found at: a gap, invisible in the photograph

contact: staticmansion [at] gmail [dot] com.

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"There is something profoundly beautiful and nostalgic about McIntyre’s reanimated voices that move beyond defence and into an ethics of care. In the human languages of affect “shame” is considered immensely disabling. Yet it is a collective shame that McIntyre addresses and in this she engages much more than melancholy."

- Susan Ballard, Signal Eight Times: Nature, Catastrophic Extinction Events and Contemporary Art, Reading Room: a Journal of Art and Culture, Auckland Art Gallery, issue 7, June 2015

"Noting the shortcomings of reproducing birdsong, the work becomes an exploration of sound recording media. A phonograph, invented in 1877, sits like a relic in the gallery – although it was as common back then as an iPod is now. There’s also a recording of the musical notation on a phonographic wax cylinder, but it’s so fragile it will be destroyed by its own playback, so McIntyre has provided a digital version of the recording. Sidestepping the interactive and performative elements of the other sound pieces at Mofo, McIntyre draws on the mortality of old media to explore how sound gets lost, abstracted and reinvented by new technology."

- Anna Madeleine, The Sound Art of Mofo 2015: making noise in the art world, The Guardian,
Friday 23 January 2015

"The silence of these recordings is very different from Cagian silence in that we are not truly concerned with the sonic characteristics of the silence. I really appreciate this conceptual approach to a field that is dominated by a discourse of assumed ecological content to any soundscape recording. For me, she is pointing at other ways of engaging ecological themes with sound."

-Ted Apel,  in an interview, 04.02.2014

"as melodies gradually emerge from the ether, one imagines the surprise of discovery, of finding something where nothing was believed to exist.  On multiple occasions, the strings subside completely, leaving a trail of electrical discharge.  This makes The New Zealand Storm Petrel sound nearly hauntological, an impression of an impression, a memory of a memory."

- Richard Allen, review in A Closer Listen, 2014

"For contemporary sound artists engaged with environmental matters in which silence plays a role, the question is: How to make dead silence speak? How to represent and deploy it meaningfully and in ways that do not cloak it in the habits of silence associated with Cage and acoustic ecology?" 

- Dugal McKinnon, Dead Silence: ecological silencing and environmentally-engaged sound-art, Leonardo Music Journal, vol. 23, 2013

"Far from the perspective of a collector, a scientist or a contemplative artist, McIntyre’s transceiver picks up sounds, makes itself present, retransmits them in new forms to the place from where they came, returning them as echoes of the silenced or forgotten histories that also permeate the culture of nature."

- Cecilia Novero, Birds on Air: Sally Ann McIntyre's Radio Art, Antennae: the Journal of Nature in Visual Culture, issue 27, 2013

"Maybe just below the surface of the nature recording lies the possibility of a critical recording practice, one that doesn’t merely mimic the scientific, nor the nature documentary, or believe in a picture postcard fantasy of nature, way over there. This would be a critical recording practice that questions our assumptions about ecology, rather than continuing long held beliefs in the power of nature."