Projects

Hand2Mouth Theater – Psychic Utopia

This experimental, interactive theater piece was created by the cast, based on dozens of interviews with current and former residents of communes in the Pacific NW.  My sound score used only the sounds of the human voice – from chanting, singing and toning to whispering, hissing and glossolalia.  Vocal recordings were sampled, looped, filtered and processed to create a wide range of textures, from shimmering drones to New Age melodies, occasionally merging with the voices of the actors.  Tones emerged from a glowing “sound box” in the middle of the performance area and expanded out to fill the room on a four-channel system.

Bill Will – Fun House

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I accompanied Bill Will’s exhibition of kinetic sculptures Fun House with a four-channel generative sound installation.  An extensive library of individual sound events were randomly triggered and spatialized throughout the gallery in ever-changing combinations and layers.  Sound events ranged in length from a few seconds to several minutes and were derived from the sound of a single snare drum hit – from quiet buzzing and drones to rumbles and pops.  Sudden bursts of sound emerged from silences.  As visitors activated the noisy sculptures, the installation provided a parallel sonic environment.

Ronna & Eric Hoffman Gallery of Contemporary Art at Lewis & Clark, Portland OR

Sept. 10 – Dec. 10, 2017

Young Audiences – AU + Camas HS Choir

This mini-documentary promotional video for NW regional youth arts organization Young Audiences follows choir students as they collaborate with musician and songwriter Luke Wyland.  Behind-the-scenes moments, conversations with students and concert footage are interwoven, telling a story of artistic collaboration that had a strong impact on both students and artist.

Camera and editing: Seth Nehil and Kelly Rauer

Additional camera: Adam Simmons

SNKR (with Kelly Rauer)

SNKR was a collaborative project with movement and video artist Kelly Rauer, resulting in videos, sounds, performances and hybrid combinations thereof.

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Bounds

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Bounds treats recorded sound as infinitely malleable; from grains to pulses to pitches to rhythms, loops and cycles; interruptions, repetitions, spaces, pauses; strings in a continuum. Sounds sourced from percussion instruments, subjected to techniques of micro-editing and impulse-response reverb. Acoustic events become alien tones in strata of (artificial) real space.

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