This music video for my track, Stint, was a collaboration with sculptor and photographer Harrison Higgs.
My sound design for Kelly Rauer’s three-channel video installation concentrated on swooping, twirling motions. White noise, sine tones and pulsing drum machines were recorded with a swinging microphone – a pendulum to mimic the kinetics of the camera work and the dancer’s bodies. Paired and mirrored, larger than life, dancers swing the graphic marks of their limbs in the stark glare of a spotlight or fling themselves into a dark void, amid passing tones and the crackling of an ice storm.
My camerawork and sound design for this installation captured Rauer leaping, jumping and crawling through the empty space of a blank, sunlit studio. Four video projections were arranged throughout the gallery along with four televisions of various sizes. Viewers were surrounded by stuttering sequences and asynchronous rhythmic gestures, unable to see all screens at once – or any screen in isolation. From rafter-mounted speakers emerged closely-miked recordings of separate but similar movements, mixing with the small scattered synchronous sounds on television monitors. The gallery space was filled with creaky footsteps, bodily thuds and breathing.
This performance, celebrating the 100th anniversary of John Cage’s birth, was curated by Mack McFarland at the Pacific NW College of Art. Dancers, musicians and a poet were stationed in all areas of the building’s large open atrium, along balconies and in far flung corners. Multiple and varied activities surrounded the mobile audience.
My original sound score for this dance performance was developed through an extended series of improvisations with the company, in rehearsal and in-progress showings at various venues. I asked Linda to keep an audio diary, collecting the sounds of family events, passing conversations, interactions with strangers and ordinary environments – specific moments in time. These everyday sounds were mixed live for each performance, along with ambient drones, airy hisses and musical textures. Additional sounds played from multiple on-stage televisions displaying video documents of the choreographic process.
Children’s Games was an evening-length performance combining cinematic images with sung and spoken voice, abstract sound, and performative actions. The piece drew inspiration from the 1560 Breughel painting (of the same name) and the 1970 Truffaut film, The Wild Child.
Children’s Games celebrated the associative, fragmentary and irrational aspects of play and explored the traumatic colonizations of wild space. Onstage, a chorus dressed in the medieval garb of the Breughel painting conduct vocal games and patterns.
Video projections, recorded sound and live voices mingle before giving way to an enigmatic noise band.