Considering architectural spaces for their acoustic potential is a mark of my recent site-specific works.
That stairwell opening could serve as an ostensible architectural f-hole, acoustically, for louder instruments playing in the first-floor space below. First, that for a performance, the audience seated in the second-floor gallery space, would be in the proximity of a stairwell at the window-end of the room, a point of potential dramatic entry. My art lives in the interstice between concert music, sound art, architecture, and theatre.Ĭonducting a site visit of the new Milton Resnick and Pat Passlof Foundation last year, I was struck by several architectural/historical details. The concert work, thusly, instrumentalized the installation, skirting the boundary between concert music and installation. As the piece progressed, door panels were gradually opened, effectively increasing the volume of the sounds emitted from the interior of the installation and transforming the resonance of the aggregate space. For the premiere, I performed a concert work in which ten musicians and myself, mobile with megaphones, vocalized sounds like the sounds in the installation. For example, a recent piece, only the breaths of favorite poems, herein, created for the Shenzhen Biennial, under one aspect, is a sound installation of twenty speakers installed in a structure of thirty-three door panels.
Recent works expand upon the liminal space between the three practices through site-specific works or installation performances. My work encompasses three output modalities: composition, vocal performance (as a vocalist, I specialize in extended techniques such as throat singing, singing multiphonics, and circular breathing) and sound art installations.