Testing for PSI in Stanford, California 2013.
Last May I was included in an exhibition called Memphis Social an ApexArt Franchise Exhibit curated by Tom McGlynn. One of the highlights for me was meeting artist Aviva Rahmani one of the sad parts was only getting to collaborate with her on the last day of the exhibit. She agreed to let me record while she was interacting with the Radio, Love and Memphis installation. She sang while I played the “instrumentation”, background noises from the busy street corner were present. I thought to myself what amazing luck that I have to be exhibiting here in the “old city downtown memphis” broadcasting sound in new language, new terms, unconstrained, and with willing collaborators. The recording was edited into a multi-layered experience which can best describe the work as it technically has no beginning or end. When each segment is layered the result is a multitude of new ways to experience the performance and gives more opportunity for chance, the only true restrictions were the constraints and logistics of the exhibit. Given the difficulty of making art like this with such limited funding and knowning how frustrating life can be under the current political-social-financial circumstances, I am closer and closer to finding out that as artists we must relish the situations that can be made possible given our vocation because very few occupations that can have moments like these.
This recording is a mix of different recordings with Aviva Rahmani during the exhibit Memphis Social curated by Tom Mcglynn. The installation is described below:
Radio love and memphis 2013
60″ x 72″ x 60″
Mixed media installation: experimental audio instrumentation, midi triggers, electronics, fm transmitter, microphones, wood, yarn.
Radio love and memphis is a fully functional FM radio station equipped with experimental musical instruments, microphones, and the selected lyrics of songs about love and the city of Memphis. A semi enclosed space measuring 5 ft long x 6ft high x 5ft wide houses the radio station. Participants are encourage to play, sing, read or create their own musical versions of classics such as Beale Street Blues by Louis Armstrong or less fortunate compositions like Memphis Lives In Me by Bon Jovi,.With instruments unintended to produce traditional notes, midi devices that trigger pre-recorded sounds and a microphone available for vocal engagement, participants negotiate control of the audio experience while learning the tactility and sensitivity of the piece to their manipulations. For the duration of the exhibit the sounds will be broadcasted, Participants will be given small radios and encourage to take the experience outside the confines of the space and as far as the reach of the FM signal.
these fractures go largely unnoticed 2013
72″ x 72 “, variable height
Mixed media installation: Amplified sound, speakers, electronics, casters, mixed wood construction.
These fractures go largely unnoticed uses the sounds of radio love and memphis to generate kinetic power. The kinetic energy is produced by audio amplification, the energy is used to slowly disintegrate sculptures representing abandoned architecture and its perpetual state of change.