I create fragile corporeal sound and sculptural ensembles that highlight the differentiations

between modes of perceptual acquisition—specifically visual and sonic—within complex and precarious arrangements of subjects and objects. Combining sound and objects into immersive aural and haptic environments, I re-engineer sites of past and current performances with audio transduction equipment, producing installations that transform the sounds of performance into a physical and material experience. For me, the temporal and indeterminate properties of sound is more methodology than medium and can take on forms ranging from sculpture, recordings,

performances, installations, and scores.

Using a variety of recording and amplifying technologies—in addition to materials such as glass, clay, ice, and the processes of decomposition—I investigate how sound travels through space, bodies, and language as a way of exploring hidden or sublimated gendered systems.

Concerned with the tension between conceptual power systems and their inevitable demise, the

container and the contained, the visual and the sonic, my work exposes multiple queerings of

the performative and pre-formative body.

I arrange translucent, bisected, reflective, liquid, and entropic material into ensembles like a

resonating stage or a duet between glass vessels. Each object is studded with transducers that convert audio recordings of the material into vibrations directed back into their sources. The transduction of sound in turn transduces the function of the surface material. Rather than

demarcating the boundaries of autonomous objects, they indicate relationships that are

pervious, manifold, and in flux. Visually and audibly affected by the sonic transfer, the

ensembles become listening bodies that rattle, shatter, ripple, bloom, and evaporate. My

process is like gardening. Probing surfaces like a topographer, I cultivate some resonances and

maintain some visual definitions. Other elements are left to slowly rot or ripen. The resultant musical composition is thus a catalyst for material decomposition through which each ensemble performs itself anew. And as with the formation of subjectivity, natural processes and cultural techniques overlap in ways both harmonious and discordant. Overtones cause a shard of glass to dance skittishly on the salty surface of Thin Spread of a Specific Edge

(2018) . The small piece of performing glass was once lodged deep in my leg when I five. It went undetected by X-ray machines until it rose to the skin one year later. Broken and preserved, sharp and harmless, of the body yet foreign to it, its solo act demonstrates both the physical intensity and fundamental permeability of corporeal parameters. In another piece shown here, False Binary Call and Response (2018), the pronunciations “Oh,” “Owe,” and “Ow” resonate from vessels flanking a two-way mirror i. While the twin images of the vessels, are redoubled, nested, and concealed, their sound waves pass inward and emanate outward, speaking interjections of indebtedness.

In my Collapse Score series, collapsing the score implies that the duration of a composition has

imploded. Indeed, the only indication of time in these wall pieces comes from the gradual

decomposition of organic material. In one score, blood, urine, and grapefruit peels color a swath

of horse hair from a violin bow. The elements, also including colored pigment, are sandwiched

between sheets of glass, representing the interplay of surfaces and opacities that is central to my musical philosophy. Like the

Invisible Objects recording series in which I try to evoke a physical object through listening to the recording and understanding the recording methods being employed, Collapse Scores

tries to evoke imagined music and sonic material contained within a seemingly static object. The performance may have already happened in the gesture of imprinted in the score or may have the potential to unravel in a future, imagined, space.