Vantage

I am in a group show with Avantika Bawa, Golan Levin, Stephen Slappe, Victoria Haven, and Isaac Layman called Vantage that just opened at the Archer Gallery at Clark College
in Vancouver. The show was curated by Blake Shell.

The show was posted on artforum.com...here

My contribution, That Intricate Never, was a sound work using PD that re-sampled itself and responded to the acoustics of the room.













It also was mentioned on February 10, 2010 on disquiet.com and reviewed by Lisa Radon (who also e-publishes Ultra) for Portland Monthly here.

Of Waking In Ice

Jack Ryan has invited several folks to respond to Werner Herzog's Of Walking in Ice that will start at Soil in Seattle December 2, then move to the White Cube in the White Stag building in Portland in March. The show includes Steven Thompson, Dominic DeJoseph, Melody Owen, Donald Morgan, Bill Daniel, David Berman of the Silver Jews, and others. My contribution is below and more details are here and here and here- Jack's images from the opening and exhibition are here.



















The cover of the first edition of Herzog's book is above and below is my work in the show. A branch of a cherry tree carved by hand and with a small chainsaw that is mounted to a subwoofer on the bottom and has a small speaker embedded in the top, out of sight. I made a sort of soundtrack for the book but filtered the sounds so each speaker seems quite distant from the other.

objects on the horizon

group exhibition at the Ewing Gallery at UT Knoxville

reflected territories

hoopsnake collaborative project in Saint Louis at the Good Citizen

made with the help of:

Randy Peterson
Nels Oscar
Stas Veselovskyi
Tyler Cooney




































































Reflected Territories is a sculptural work that shapes sound with
constructed objects and the architecture of the building itself. The central sculpture was designed to reflect, obstruct, amplify, or attenuate certain sounds depending on their wavelength and volume. Certain sounds can pass through each of the successively smaller iterations of the open triangles while other are reflected in other directions or killed altogether. The differences are hardly registered by the human ear but measurable. Microphones gather the sounds at different points and create a feedback loop of the sounds by sending them back through the small speaker and the larger parabolic speaker placed a few feet from the sculpture. The sounds are processed by an opensource programming environment called Pure Data. A second computer captures sounds as they bounce around (the resonant frequencies that bounce through the building itself) and projects them via the octagonal speaker and microphone at the back of the room. The arrangement of the sounds is dictated by what the computers record and find in the sounds and simple but shifting directions written into the code.

The entire sound field is initiated by introducing a single sound into the room, a recording of one key from a piano in need of tuning. This sound reappears periodically, adding another referential layer of feedback. While not musical, the composition of the sounds is dependant on this very simple sonic theme similar to, but more basic and fundamental, the approach taken in arrangement of a fugue in classical music in which a simple series of notes is used to construct a complex work. These sounds are not arranged to provide a recognizable musical structure. Rather they are reformed and shaped by the building, the sculpture, and the animal skins on the wall with the intent of expanding and compressing the sense of space and altering our sense of the place.

The Arctic Book Club

The Arctic Book Club is an exhibition based on An African in Greenland by Tété- Michel Kpomassie running from September 18 - October 24 in Manhattan co-curated by Michelle Levy of EFA Space and Jean Barberis of Flux Factory.

download press release

images of my work in the show:

Bethany Springer has curated the Physical Reminders at the University of Arkansas art gallery- The line up of artists looks really good + this is my grandfather's alma mater and my family has deep roots in Fayetteville so I am very happy to have this opportunity to bring my work there.

Artists Lain York, Mike Wsol, Claire Watkins, and Michael Jones McKean were all there for opening and lecture series

show opens March 25
images of my work for the show

A Raising

a show at Ditch Projects in Oregon







































opening April 3- a sound installation in a old mill turned gallery operated by Rob Smith, Donald Morgan and more good folks.

The building straddles a creek and a microphone is set down in one of the holes in the floor that is open through the concrete to the water. The sound was reprocessed to generate a raised waterline of sorts in the space and a second mic was in the gallery to contribute an ebb and flow of additional feedback in the sound. I tried to channel Tartovsky, particularly Stalker as I have been really interested in his films the continued but transforming use of water as metaphor in his films from Rublev to Stalker.

I also had the chance to play live with my friend Rob Smith at the opening for the first time in a while...

Bluff Poseidon

Sound performance called POSEIDON/SERENADE in collaboration with Patrick Deguira for Polymer will be at the Hunter Museum in Chattanooga on March 26. Jason Lee Wilson joins us to play his excellent rock-a-billy in this three headed work designed for that tri-part building. JJ Johnson helped us out with the setup and helped me during the performance- it would not have come together without his help.

















































































Thanks to Phillip Andrew Lewis and Jessica Westbrook for organizing this and for the pictures.

The Fugitives were invited to participate in BIN by SEED in Chattanooga
http://seedbin.wordpress.com/

















An exhibition including Graffiti Research Labs, Guerilla Girls, Deadtech, Team Lump, Paintallica, a contingent of the Yes Men, and others.
We were given a stipend and a cardboard box so we bought more boxes and built an bellowing tower using samples contributing fugitives and Pure Data. I built a speaker and amplifier system inside some of the crew came up and we constructed this hollow chamber of interlocking boxes for the tower that stands about 11' tall.

Stephen Vitiello at church






























Stephen Vitiello came to Sewanee to put up a show of graphic scores in the Carlos Gallery and a 6 channel installation in a decommissioned church now used by the college's Music Department. I set this up using a simple PD patch to play the 6 channels and present title information.

Userland[s]- expanded





































































adapted from the previous installation- this time using cameras and sensor data networked between 3 cpus to create an installation that uses the central grid as a score. Other phenomena: from audible, visual, and movement, affects the changes in the sound. The pieces in the grid are movable, the score was recolored and shifted periodically throughout the show.

FM Post for the Grand Mal, Ian Curtis, and all Mountains Under Erasure

new work for a show at Zeitgeist Gallery in Nashville, another link for ZG here

celinas- ep by Kevin McCoy
I made the first track with Kevin using some PD patches we wrote and recorded in July
cover image made by Kevin

download here:
celinas

A portable sound station with 3, 4 -channel sound pieces generated with Pure Data are orchestrated by 2 internally-networked cpus housed in the wooden sculpture. The sounds generate an alternating expanding and compressing sonic landscape with various kinds of manipulated waveforms through granular synthesis and other techniques. The code is projected. The sensors and an Arduino microcontroller in the wooden sculpture respond to the way the sound behaves in each space and provide input that affects the behavior of the software and the sound. The piece can be connected to the internet and operated remotely.













Installed at Bridgewater State College in Massachusetts

a lot of thanks goes to Collin Asmus for his help. His invitation to show there got me moving on this sooner than I would have otherwise and without his help it wouldn't have gotten installed.

Thanks also goes to Archie Stapleton and Lauren Busey for their help in the studio

software contributions in Pure Data come from Hans Chrtistoph Steiner, Kevin McCoy, and Dan Trueman

installation from show at the Zeitgeist Gallery last summer with Bjorn Sterri