Sound designed & produced for “Mediatation” a performance collaboration with artists Kim Don Quoc and Kira DeCoudres for BioCuerpos Performance Series in Mexico City at UTA Paranoid Visions Nov 8th 2018
Wet/Dry Interactive Sound Installation at Wild Embeddings Gallery
Wood, Sand, Memory Foam, 5 contact mics attached to interactive trees and gloves effected live through Ableton, 2 speakers attached to the insides of the wooden frame, Metal Chains, Subwoolfers (installed below sand), collected branches covered with lichen, pine trees from upstate new york, various living and dried flora & fauna (200 stems fresh Eucalyptus, fresh dusty miller, red died amaranthus, pamapas, bunny tails, ghost maple leaves, tree roots & lichen), concrete sculpted spheres at the bases of the interactive trees, aromatherapy mister encased in rabbit fur, large feathers, and long stands of white pearls and rhinestone chains.
All elements of this installation were meant to be interacted with on a tactile & viscerally sonic level, perhaps inducing a blending of the often compartmentalized centers of perception; hearing, feeling, touching, sensing, thinking. The piece was originally conceived as a sound coffin, or death bed, that was designed to be visited throughout ones life, not just before death. A place one could go to have a deeply sensorial experience of the self, the body and the mind. Similar to the intention of śavāsana (corpse pose) , a yogic meditation/ posture practice where one lies flat on their back on the ground and completely surrenders to their mortality, as a way to practice dying peacefully, for when the day does come, WetDry is a place for contemplating the parallels of what is alive and what is dead, through connecting to our perceptual capacities on a deeper level, exploring how what we consider a wet object may sometimes feel dry and vice versa, or considering how we label a sound as Wet when there is Reverb or any effect placed on it, and Dry when there is no effect/affect on it (in audio production lingo). Many of the chosen objects within the installation had these potentially sensorially blended properties ( a cold chain is dry, but may feel wet when felt in a certain way, etc). The sand served many symbolic purposes in this installation, as well as a traditionally playful, tactile medium that has a highly viscous sensorial capacity - just by varying the level of its wetness. It also served as an instrument that could create something very wet sounding, like the sound of the ocean, or a very gritty, dry and grainy sound, as one dragged a contact mic laced glove over the surface of the sand, with the ability to change the amount of reverb or saturation of the sound (using a wireless midi controller, that was being passed around / available to be played with amongst the participants). The wireless midi controller and receptiveness to effortless sound making was an overarching intention for the installation as a sonic playground that could be approachable and sensorially available to anyone who made an effort to interact with it, so as to encourage sound making as not only a musical, highly technical practice, but a meditative and simple way to immediately connect with ones self and their relationship to the natural world.
Live sound designed and performed for Mariya Dimov's performance/installation KATABASIS Sept 2017