2019, Wood, metal, plastic, cloth, electronics, robotics, sound
“Nurture” is an instrument that performs phrases of deconstructed spoken text. Each consonant sound is accentuated by a percussion device and each vowel sound is enacted by a mechanical valve. As spectators are focused on what the piece is doing and sounding like, a subliminal process of hypnotic induction is taking place. Under the layers of augmented sound, there is unaltered spoken text from one of its speakers reciting autosuggestions from Napoleon Hill’s self-help book, “Think and Grow Rich”.
2018, mixed media, robotics, video, animation, sound
“Deliriums” explores the space between “matter and mind” through robotic sculpture, animation, and sound. I have always been interested in the ephemeral parts of things that cannot be seen like the electrons in a circuit, the music from an instrument, or the thoughts of a person. I am also interested in how these internal processes can manifest in physical space as movements, sounds, and behaviors. The three instruments in this documentation represent one of three personality clusters from the DSM (Diagnostic and Statistical Manual of Mental Disorders) which include Cluster A (odd, eccentric), Cluster B (dramatic erratic), Cluster C (anxious, fearful).
I collected monologs from anonymous individuals diagnosed with personality disorders, transcribed the recordings into text and then outputted them from voice synthesizers. Then I created animations to help illustrate the imaginations of these “virtual souls”. The robotic instruments score the emotional content of their confessions. The animations, sound design, monologs, and robotics are all perfectly synched like the tracks of a film except you cannot experience them all at once. You have to move throughout the installation space and put the pieces together.
Special thanks to Phillip Niemeyer and Northern-Southern Gallery.
Excerpt from Fusebox 2017 at Big Medium Gallery, Austin, TX
Poster design by Phillip Niemeyer
2017 NIME Festival in Copenhagen
The evolving score of “Noplace” incorporates several of my invented robotic musical instruments. It is accompanied by live projections from closed-circuit cameras, synced animations, motorized zoetropes, and the shifting shadows produced by an ensemble of mechanical devices.
The title, “Noplace”, is taken from the literal interpretation of Thomas More’s “Utopia” and the score is based on the second half of Plato’s Allegory of the Cave. Through musical and visual interpretations of this narrative, I explore contemporary ideologies relating to prosperity, safety, and identity.
This project was supported by the City of Austin Cultural Arts Division.
2015-2016, ferrous metal, wood, acrylic, electronics, electromagnets
Below is flow chart that briefly explains the sound process.
This project was supported in part by the Fusebox Time Arts Festival, New Music USA, and The ArtPrize 2016 Seed Grant.