The Glasshouse

For the past ten months, Faye MacCalman, an Artist in Residence at The Glasshouse, has been immersed in her project ‘Invisible Real’. With her upcoming concert just around the corner, we sat down with Faye to explore her creative journey and the evolution of her work.

Why did you decide to be an Artist in Residence at The Glasshouse International Centre for Music?

It’s rare to find the time and place to focus deeply focus on your creativity for an extended period of time so close to home, and I wanted to be able to give such an emotional and multifaceted show, the time it needs to be developed. Living in Newcastle, it’s fantastic to just cross the river and dive into my work.  This residency has given me the chance to compose and practice more intensely, with the added benefit of being able to incorporate ambitious visuals in the space of hall two, alongside being mentored by artists I admire. It’s inspiring to develop my craft right here in my home city, away from the usual pressures of gigs and tight deadlines. The Glasshouse offers a unique space to explore and grow creatively.

Can you tell us what ‘Invisible Real’ is about and how it has evolved since you started working on it at Cheltenham Jazz Festival?

Invisible Real explores the hidden experiences of those with mental illness, and our thoughts and feelings that are invisible to others and often create a lot of shame because of the stigma around these, despite the fact that we are in 2024. I wanted to create a show that celebrates the imaginative and surreal aspects of our minds, and the visual component involves anonymous answers from people about their mental health experiences, projected onto fabric to create a floating, subconscious space. This allows these private thoughts to be shared without judgment, forming a sci-fi, surreal adventure for both the performers and the audience.

Originally a solo project with a small fabric installation and spatial audio by Nicky Sheth, it has now expanded. Thanks to support from Jerwood Arts, I’ve included a band featuring Beccy Owen, John Pope, and Elaine Cheng. This larger setup with more fabric and live musicians creates a more cinematic experience, shifting the focus from an installation to a dynamic performance.

What progress have you made with ‘Invisible Real’ and the new band during your residency?

Forming a completely new band has been a significant progress point. We’ve been learning to play together, transforming the music from loop-based, electronic sounds to a more live, interactive setup. Taking part in a songwriting workshop with Merrill Garbus (Tune-Yards), receiving mentoring from saxophonist Catherine Sikora and electronic musician Lara Jones has encouraged me to have more fun with music and to not be too doubtful of my instinctive ideas. This residency has been about rediscovering the joy and playfulness in my music.

How has working with visual artist Rhian Cooke influenced ‘Invisible Real’?
Rhian Cooke, a visual artist from Leeds, has been integral since the project’s inception. Her expertise in projecting onto fabric adds an ethereal, abstract quality that complements the music. Rhian’s visuals can express elements that the music alone cannot, creating a cohesive and immersive experience. Her ability to translate my ideas into visuals has been invaluable, making the project feel like a cinematic journey.

What challenges have you faced with the project and how have you overcome them?

Expanding the project from a 45-minute solo performance to a 90-minute band piece has been challenging. Writing music that suits each band member’s style and personality, especially since I chose musicians from diverse genre backgrounds, has been a learning curve. Communication and adapting to this new setup have been key. Despite the challenges, the process has been rewarding and has pushed me to grow as a composer.

What can the audience expect from the ‘Invisible Real’ performance with the new band?

Audiences can expect a mix of raw, emotional material and playful improvisations. With two keyboards and a double bass, there will be some rock-out moments, making full use of the band’s capabilities. The aim is to transport the audience into a new world, an adventure with emotions and feelings that are both intense and playful.

How has this residency impacted your career and what are your future plans?

The residency has boosted my confidence as a composer and planner. I hope to take ‘Invisible Real’ to different venues, continually learning from new surveys and experiences. I also plan to record new albums with my band, Archipelago, and my solo work. This period has been inspiring, challenging, and exciting, and I look forward to continuing this creative journey.

Is there anything else you’d like to share about your residency and ‘Invisible Real’?

I encourage everyone to come to the show—it’s a unique experience. The large-scale setup requires specific conditions, so each performance is special. Collaborating with Rhian on the fabric installations has been intricate and technical, but her expertise ensures everything comes together beautifully. I hope people enjoy the immersive, emotional journey we’ve created.