Gil Delindro is a sound and visual artist, whose practice is rooted in environmental and site-specific work, exploring the relationships between organic and technological processes, time, decay, and the natural world.

During his six-month VARC residency, Gil focused on the acoustic and ecological diversity of the Northumberland landscape. His work combined field recording, sculpture, and installation to examine what he described as “the intangible qualities of the landscape.” Through a process of listening, mapping, and experimentation, he investigated how sound could reveal hidden layers of place, weather, and material transformation.

Gil welcomed visitors to Highgreen through a series of participatory events, including an open studio in February and an experimental sound walk and workshop in May. These encounters offered insight into his working process, which often began with patient observation and the collection of raw materials from the surrounding environment.

His residency culminated in an ambitious end-of-residency exhibition in the Cart Shed, centred around a monumental rotating sphere of living moss. The installation combined organic and mechanical systems, using sound, movement, and light to create a living, breathing artwork. The piece reflected his ongoing interest in cycles of growth and erosion, the fragility of natural systems, and the ways technology can both disrupt and amplify our relationship to the environment.

Alongside his practice at Highgreen, Gil continued his engagement with local communities, fostering connections between art, ecology, and science. His residency formed part of his broader investigation into landscape-based sound research, developed over years of working in diverse and often extreme environments around the world.

As he wrote during his time at Highgreen:

“My intention is to examine the rich diversity of the Northumberland territory, creating a map of different locations, where I will be focusing on acoustic phenomena with a motivation to access the intangible qualities of the landscape. I’m interested in using different technologies to examine selected parts of the region and hopefully contribute with a new form of engagement for local communities and researchers. These recordings will be the basis for studio work and the creation of new media sculptural pieces, where I use both organic components and technologic ones.”