installation and video
doleros (audio-tourism at ringing rocks)
---listen here.
rumour
---listen here.
studies of surfaces, ice: above/below
karesansui
cloud-to-air
see video of the water surface HERE
shown at Diapason Gallery, New York 09.03 to 10.03
Field recordings of a summer's lightning storms and thin quiet tones are treated and spatialized
through Diapason's multi-channel audio system. A video installation of heavy rain on shallow water is
projected on shallow water shaken by thunder.
The gallery is almost completely dark save a bright rectangular pool about an inch deep.
The light coming from the pool is a video loop of a puddle during a rainstorm. A complete storm
system plays through a 24 channel audio system. Parts of 43 rainstorms and heatlightning/thuder
recordings enter the space in waves following a algorithm modelling the storm recorded at the same time as the video.
all that's liquid melts onto glass
shown at Deadtech Gallery Chicago 09.02 to 11.02
a single channel video, three channel sound installation. The video is a single unmoving shot out the window of my home during the winter
onto the snowy field outside. The video appears white while the sound of an old caste-iron tea kettle begins. As the tea kettle heats and the
water boils the steam builds on the glass of the window, the steam builds and builds until drips begin, drips are replaced with fog, and then more drips.
Slowly, patiently the tea-kettle runs out of water to boil and crackles incesantly from the heat, the heat dries the window and the piece ends.
smaller and faster than us.
shown at Deep Listening Gallery Kingston, NY 03.03 to 05.03
a still-motion videograph...a motionless camera focused on a motion event, the form of three small bugs spinning in a crevice in a waterfall, the video is projected onto a surface of glass and wax. the video is set and changes toward over exposure at the pace of the sun going in
and out of the clouds.
capillary reciprocation
shown at slight exhbition co-presented with Caz McIntee.
capillary micro pipettes suspended in a lens full of water is in between the
viewer and a video of water flowing in and out of a tidal pool, the pipettes
are suspended from speakers through which the sound of the video is played.
The speaker vibrates the water out of the pipettes, counter-acting the capillary
action. The pipettes fill up and empty out with the ebb and flow of the sound
and video in a rhythm similiar to blood flow.
masked verticalities:common fate
---listen here.
shown at Resynthesis Exhibition at Betty Rymer Gallery, School of the Art Institute
of Chicago, 12.01 to 01.02
A simple problem dealing with the overlaying of perceived temporal and physical spaces. Spaces exist sonically with or with out people in them. When we interact with those spaces, we may believe that we are needed to perceive these sounds; this is only partially true. The
sonic totality of a space ebbs and flows; it builds up under the right conditions and breaks down as well.
This building up and breaking down, the ebb and flow is interrupted by our presence in the space,
but we also add to it. We create our own sonic landscape, and once we're in, it's very hard to remove
ourselves from it. Both physically: the effect of our own noise making on the acoustic environment,
and perceptually: our understanding and experience of the environment and our relation to it.
A stairwell is a good example of this phenomenon; a space whose resonant acoustical properties provide it
with memory. It is transient, or rather, we interact with it en route, and it is rarely our destination. It
is not linear, it can be entered from many levels, and it will always be unpredictable as to when and
how people enter and leave it. This is a sonic multi-dimensionality that architectural necessity has created.
It is our decision to take an active or passive role in the experience of it. Resynthesis Exhibition at Betty Rymer Gallery, School of the Art Institute of
Chicago, 12.01 to 01.02
mediations
shown at slight exhbition co-presented with Caz McIntee.
A shallow stream in the Millers River near Amherst MA,
The surface of which was blown by wind. The wind overloading the microphone is played through two subwoofers underneath the tray of water
onto which the video is projected. The vibration of the tray creates a pattern in the waters surface similar to the light reflection on the water of the original video.
psycho-physical response time 4'54"
shown at Book/ENDS Arts Festival, State University at Albany, Albany Center
Galleries 11.00
format: single channel video duration: 4'54"
tuned television static and live manipulated television white noise.
precedence affect
shown at the Autumn Uprising Festival of Experimental Music at the Institute for Contemporary Art Boston, MA
It's about how we use sound. How we maneuver through space, how we interact
with one another, how we digest the gestalt of our surroundings, and most importantly:
how we choose to react.
When we speak with people, during say,the intermission of a performance,
at a crowded coffeehouse, or on the train, we filter out background noise in
order to focus on the sound of the voice connected to the person with which
we want to converse. Very quickly, and with little effort, we can change that
focus to a different speaker.
The five sound sources in the gallery and lobby spaces are interacting with
you, though not directly. As you wait for the performances to begin, as you
read this, someone may express an opinion about the sounds being played into
the space (or perhaps whether what I'm about to say is true). Once a topic or some of the words spoken by
one person enter a crowd, these topics and words will slowly make their way
through the group, usually unnoticed and unintended.
The sound being played through the five sound sources are either manipulated
recordings taken from the locations of the sources themselves or synthesized
from measurements of the acoustic properties of the space.
sounds from the space (standing waves, airconditioner hum, water pipes, electrical hum, lighting hum) were recorded and manipulated, played through speakers back into
the space. mirrors atop the speaker cones collected ambient light from the space and redirected the light onto the walls. this redirected light was then modulated by the vibrations of
sound from the speaker
some photographs
departing ground 1-3, 40"x30", lightjet prints, Deep Listening Gallery,
Kingston, NY
2.5 mSec of heat, stills from video, 4"X3", lightjet prints, Deadtech
Gallery, Chicago, IL
More to come.
other videos
open/unfolding
installation: wax blocks, oil paint, video duration: 30 minute loop
four videos of the same stream at four different times of year, at the same time during the day play together.
They are projected on four thick blocks of wax paint with a thick layer of oil paint which mimic canvases or ice.
Schick Gallery, Skidmore College.
single flame, single stream.
speaker cone, microscope slide glass, concave mirror, light. sounds of fire and water were collected and played through a speaker. Atop the
speaker rested a 2.5"mirror and three pieces of microscope slide glass. A fixed light source reflected through
the glass, onto the wall. The vibration of the water and fire sound thorugh the speaker created light
shapes on the wall, resembling their respective sound sources.
Dartmouth University
contralateral induction illusory continuity
format: projected video, performance duration: 6'10"
video projected on my back as I'm suspended from a frame by my arms and legs.
exploration of the effects of fatigue on my ability to perform a vocal piece from memory.
premiered at Engine 27 Gallery, New York, NY
study in prism blues
format: single channel video duration: 9'06"
geometic still frames and stop frame animation of light and sky through windows
of 19th century Mill Buildings.
Dot.Commrades, Troy, NY
ciggaren
format: single channel video duration: 2'10"
stop frame animation setting of Kurt Schwitter's sound poem "ciggaren"