photo by Camille Blake
Dylan Kerr is an Irish artist working between performance and sound. They create site-specific, durational, endurance-based performances shaped by the environments they inhabit. Kerr’s work is a dialogue between the body, the voice, and space, exploring what is inscribed in a location's history and resonance, and how these elements are transduced and embodied through their performance.
In their work as a vocalist and composer, they work within process composition, just intonation and improvisation, combining their voice and instruments with various electro-acoustic methods. Their practice engages with various psychoacoustic phenomena— including beating, interference patterns, and the dynamic conversations between their voice and acoustic resonance. Their work is further informed by their research into sacred music, extended vocal techniques, and their work as a performer/interpreter of other composers’ work.
Recent performances include a 24-hour durational work at the Sirius Arts Centre, Cobh, Ireland (2025), moving between its former servants' tunnel and the harbour. Through the voice, body, and painting, it reflected on Cobh's history as a departure point for those displaced by colonisation. Antiphon I (2024), composed site-specifically at Église de Villamont, Lausanne, Switzerland, and commissioned by Les Urbaines, explored psychoacoustics and the physicality of sound, from sub-bass vibrations to otoacoustic emissions, engaging with the church’s acoustic resonance. Kerr is also a frequent collaborator, with their most recent duo performance with composer Michael Speers (2025) for voices, electronics, and whistles, invoking wolfing voices through Irish rebel songs, presented at KM28, Berlin, Germany.
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