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ARTIST STATEMENT

The fugitive moment is source to sonic minutiae that we ignore and relegate to passing time. These moments engender the emergence of recollection. They are a negative space of memory, always awash in an aural backdrop that might be considered "negative sound," which constitutes the sonic framework of the spaces we inhabit. Upon these sonic frameworks we perceive and make ‘normal’ or 'positive' sounds - conversation, music, radio and other desired sounds. Importantly, however, these under-examined backgrounds root us in place. They are always available, if remaining vague or unobserved.

The reiterated sonic resonance of the installations shifts focus to these aural backdrops while referencing the physical space. Installation-enhanced senses of spatial aural awareness charge the continued inevitable visual senses of space. By invoking a higher level of consciousness of background, the sonic apparentness of a space and a greater sense of self in relation to space are made available.

These site-inscribed sonic fields might be complemented by visual references to the site via video, light and object-art, with an intention to magnify site apparentness. As matrices of actuality support they are overlapping sensual fields that produce phenomena-charged experience in which constituent parts meld into enhanced, synthetic expressions of place and being.

As phenomenal systems that are vehicles for art, in addition to the context of local space, they are interlaced with conceptual, metaphoric, formal and expressive art potential. The sonic phenomena, in relation to space and visual art components, exhibit gesture and moment form. They are choreographed, embracing time and movement, as well as stasis and point location. They are all-over fields inhabiting four-dimensional space, while often also invoking historical space – as though the walls could speak – as they invite the perceiver to traverse and encounter the site-manifest environment.

An installation becomes an indivisible, reflexive art object, an open-ended self-performance/experience – a time machine at the intersections of sound, architecture, space, object and self – non-existent without the space and that revealed within its silences.

 

 
     

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