Oscar Finch

Growing up I was always interested in the literary and visual arts playing bass guitar in my formative years with an early eye set on a career in the world of graphic design.

However I left a tertiary design course in the late 80's after becoming disillusioned with the conflict between creative pursuits and commerce. In hindsight I probably should have persued a degree in fine art instead but you know what they say about the best laid plans of mice and men.

It wasn't until the late 80's house and techno revolution that I found my creative drive again and began to explore concepts of deconstruction via sound art, found sound and visual multimedia.

My manifesto (if any) has always been to compose an 'audio-biography' of will in the face of human adversity.

I love using many techniques, from musique concrete to post modern classical structures, serving up an inspirational sonic pallette that is as diverse as it is varied.

From Reich to Stockhausen, Cage, Eno, Kraftwerk, Nu jazz, modern futurists and avant garde noise experimentalists I to explore not only “the art of noise” but the intricate patterns found in seemingly random chaos.

Now officially based in Toronto, Canada, I am signed to the Filter Label, writing composing and remixing under the artist moniker Venn Diagram.

It's been a busy 24 months in Toronto, with remixes completed for Stereospread and UK's Little Birds, 3 albums under the belt and a forth on the way.

The Duetsches Symphonie Orchestra (DSO Berlin) recently held a Dvorak "Into the New World" remix competition in which I was among the list of selected finalists. Reworking Dvorak was both a challenge and a labour of love as my recently deceased father was a lover of many of his works (especially the 9th Symphony). The official rewards ceremony takes place in Berlin @ the DSO on Sunday the 30th of March.

New material is in the works that is largely 100% hardware based. The studio has had a major overhaul in recent months employing 2 x Monomachine SFX60 MkII's, Analog Four, Super Bass Station, Audity 2000, TB3, SH32, Kawai K3, A5000 sampler and Maschine. The change seems to give my sound a slightly dirtier industrial edge that juxtaposes my love of nujazz and ambience in intriguing ways.

Its all about experimentation and embracing mistakes so what stems from this sonic soup could be interesting.