above: recording the sound of salt crystals, Salzburg, Austria. 2019.
My work is cross disciplinary but my grounding is in sound. It is immensely present in my work: in the ways in which I think about time, in my examinations of language and use of text, even in the way (really the "where") in which I put things on the wall when building installations: Cagean silence, granular synthesis, and the construction of meaning through sequenced objects in space and time.
In 2020, after a break from sound I made a piece for Ear Wave Event. You can hear it here. Writing in Art News Renée Reizman described the piece as "chiming alien signals captured on a staticky, faulty radar". The piece includes EMF recordings of computers and other devices in ancient surroundings and the sound of me playing a glockenspiel.
Much of my work in sound is conceptually based, often centered around the material characteristics of sound: as object, as artifact of technology, as by-product and witness to the act of drawing, etc.
top left: all the Love that's in-between. One of a series of 9 crocheted waveforms made from acrylic "Red Heart" brand yarn of various people saying the word "Love" . Sources range from friends to historical figures and icons of popular media (Moses from the Ten Commandments). Each of the waveforms is made from a different color of yarn. Dimensions variable, approx. 12" x 3" x 1/4" each. 2004.
top right: panel discussion (detail). Painted wood, speakers, motion detectors, pre-recorded sound chips. The motion of visitors through a room triggered the playback of multiple sounds: of highly processed human speech and of the sounds of creaking trees. In the original installation the walls of the room were covered in fake wood paneling, painted white. Dimensions variable; at least 8'(w) x 8'(h) x 8(d)'. 2005. Image credit: Pete Mauney
middle: top: something mechanical in something living, paint, text, laser cut vinyl on gallery wall. 2011.
below: drawing sets
Installation with paired drawings and stereo headphone playback. Using a contact microphone I recorded the sounds I made while drawing an image. I then played back the recording and tried as closely as possible to imitate the sounds, while producing a second drawing (with my eyes closed, so as to focus on the sound, and not the image I was (re)creating). The pairs of drawings are displayed together, with the original on the left. The resulting recordings are combined as a stereo mix; again, with the original on the left (channel), and the copy on the right. 2003