If anyone has seen my old website please return it as soon as possible! It’s a cute little thing that ran on an antiquated platform that just got obliterated by PHP 5.3.x. It seems to have permanently mambo’ed off into the inter-ether.

I’m busily retrofitting content to this young puff of a site.

In the meantime you can look at video documentation or view an archived version of the old site.

Sydney Morning Herald Review: Calpurnia Descending

“The campy playfulness of the comedy descends into something darker, aided by imaginative audio-visual work from Matt Gingold. As rehearsals for the show within a show begin, the piece is catapulted into a live cinema experience that projects the anxieties of ageing onto a broader historical field. It’s as much a show about obsolete media – the internet replacing film replacing theatre, and the growing distances between human contact and meaning that involves – as it is about the young supplanting the old.”

Cameron Woodhead – Sydney Morning Herald


Realtime Review: Filament Orkestra

“With the passion of a technically gifted child, Gingold can play his instrument with an intuitive sense of how his abstract grid of light can be turned into a machine of beauty. His contraption is obsessive and strange, a steampunk factory designed to solve obscure riddles. Like a template for something greater than itself, Filament Orkestra looks like an experimental model that has yet to betray its true purpose.”

Darren Jorgensen – Realtime

Pillow of Waking Hours Review: Calpurnia Descending

“…Calpurnia unfolds through the mediated lens of cameras…a mix of live performances captured by several cameras and relayed live, pre-recorded elements, green-screen, and borderline psychedelic and hyperactive animation. The work of Matthew Gringold (AV) and Matthew Greenwood (animation), this part of the show starts in black-and-white, before progressing into ‘Technicolour’ and continuing into the frenetic and visually-saturated world of mass-media, video games and contemporary advertising. It is an audacious and bold choice, but it is clever and unpredictable enough to maintain our interest for the near hour of its deployment. There are many ingenious uses of simple technology to create strong visual effect – from the spinning newspapers, to the mirror scenes, stand-ins, and cinematic over-shoulder shots…it is a masterstroke of theatrical malleability and imagination.”

Glenn Saunders – The Pillow of Waking Hours 


Fjord Review: Zero Zero

“This work, three years in development, is beautifully stripped back. And it is in this peeled back state that clarity is seen. It is in the simple pendulum swing of a light above Yap and Umiumare’s heads as they stood side by side…Simple shadow play dancing across the form, that gives the impression of altering both the perception and experience of time…The soundscapes created by Matthew Ginghold served as the final magnetic lure, and throughout the performance my eyes travelled between both dancers and Gingold, seated in the corner and lit by the glare of the computer screen.”

 Gracia Haby – Fjord ReviewHigh Up In The Trees

MelbArtsFash Review: Zero Zero

“Inspired by ‘the liminal spaces between the visible and the invisible’, Zero Zero attempts to bring an aspect of the subconscious psyche into plain view, providing a space for the white noise of the mind to be explored in its many facets…The shifts between fluid free-form movement and frantic repetitive motions are nicely punctuated by Matt Gingold, who uses both ambient instrumentals as well as raw earthy sounds, such as shaking dried leaves, to change the depth in mood and illustrate the nature of the act and its habitual or trance-like nature.”

Nithya Iyer – Melbourne Arts Fashion

Daily Review: Zero Zero

“Zero Zero is an absorbing puzzle of structure and feeling…We advance, one distinct movement after another, each like an abstract representation of a block of time, and each associated with a particular feeling of restraint or discipline. But structure is tested, too, and discipline resisted; there is a mood of tension, even disquiet.Yap and Umimare both draw on their respective ancestries, Malaysian and Japanese, while Matt Gingold, who creates a complex live soundscape, adds a touch of modern post-rock dharma. Electric guitars suggest distant zithers, and the jangling of a symbols is something like prayer bells. Some very snazzy video projections extend the layering of ancient and modern. If it doesn’t quite add up to the sacred, it does at least gives some sense of how far the sacred has receded.”

Andrew Fuhrmann – DailyReview