is about exploring the expressive limits of light, sound, and space.
Existing somewhere between performance and installation, TEST: creates
a volatile montage of images and sound that unfolds within a given
space, engulfing the viewers senses. Making use of large scale projections
and layered fields of sound, each piece is staged live. Rising sonic
movements and automated photographs accelerate to achieve a precarious
state of animation. Our sustained visual narratives are forcefully
flung against moments of complete sensory havoc.
is visual art in three dimensions working with the variables of
space, time and sound. Through this we can eliminate the restrictions
set by photographic paper or the projected image. It is also a "holodeck"
for the subjects/citizens of the digital world, who are asked to
walk away from their terminal monitors and experience something
that is of the computer, but is not in itself, the computer. As
the co- creators of the experience the viewer experiences interactivity
outside the bounds of the computer monitor.
strains of images, sounds, and ideas are collected, organized, and
then propelled into space. A reliance on obsolete and custom-built
technology insures the need to improvise. The material has a life
of its own. Chance and serendipity play a large role in determining
the final manisfestation of the performance. Each event is an original
creation which emerges from combinations of sight, space and sound.
These elements contain unique circumstances whose sum is greater
than the whole.
image cast forth from a slide projector is the central element of
each composition. Pictures are taken from the external world and
used to create a new, impermanent environment. The static image
is mechanically accelerated into the fluid stream of the sequence.
These sequences move to form spontaneous combinations. Digital control
over the tempo and placement of these combinations ultimately allows
the manipulation of visual narrative. Each piece reflects a desire
to escape the limitations of photography while resisting the temporal
reality of cinema.
creates a visceral connection with the viewer. Amplified soundscapes
mirror a projected visual world. Disembodied field recordings are
merged with abstracted noise to create loud, rhythmic composition
that propel the experience. Emphasis is placed on insuring that
the viewer is always consumed by loud, spatialized sound.
and sound converge in a space, allowing a public interaction with
the work. Large scale projections fill the space on a larger than
expected scale, often defying the viewers attempts to see it all
in one glance. Inert surfaces become activated by projected light.
New horizons, windows and unexpected planes emerge out of previously