Sweepings (2010)
Mechanical devices manipulate a pair of FM radio receivers, continuously scanning the airwaves for the loudest and clearest transmissions. When an individual unit locates a signal that meets or exceeds its preprogrammed threshold of loudness, it will pause for a length of time based on the strength of the received transmission before moving on. The combined gleaning of both units is introduced as minute vibration to the metal surfaces of the ventilation ducts in and around the gallery space. These peripheral architectural spaces then become acoustically active, and act much like the resonant cavity of a musical instrument, amplifying and shaping the formal qualities of the resulting sound, and allowing it to propagate throughout the space through any available vents and registers.
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Oscillations (2010)
Responsive audio installation in which acoustic feedback is regulated by a network of damping materials, sensors, microcontrollers, and motorized actuators. The resulting sound environment is contingent on factors such as temperature, visitor activity, and air pressure. A network of wall-mounted components monitors the intensity of feedback generated by two suspended structures, and mechanically adjusts volume to produce a continuous and audible field of pure frequencies that gradually fluctuates between consonant harmonics and noise. The contours and make-up of the existing gallery architecture create varied pockets of acoustic intensity and activity (i.e. standing waves and beat patterns).
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60 Cycle Hum (2009/2010)
Audio installation employing devices embedded into the floor, walls, and ceiling of a gallery corridor which render this transitionary space into a resonating speaker surface. The audible content of the piece is derived from a series of recordings in which a performer is instructed to take 60 breaths and - through each exhalation - hum a pitch of 60 hertz (i.e. frequency of the North American electrical supply).
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Everything in its Reich place (2009)
Kinetic audio installation inspired by composer Steve Reich’s Pendulum Music. Pulses of acoustic feedback are generated through swinging electromagnets passing within close proximity to one another. Measured and regular machine gestures combine with the more complex influences of natural forces, and result in a continuously changing array of rhythmic and melodic patterns.
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Cartilage Glitches (2009)
Two 60-minute video sequences of a performer tiptoeing barefoot in a carpeted room are recorded with an infrared lamp. Each sequence is edited to isolate instances of audible cracks in the performer’s lower limbs. A monitor placed in a small alcove presents the distilled imagery, and the audio component is amplified through speakers suspended from the ceiling.
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Fractured Urban Space #1 (2008)
Part of the Tokyo City Spaces project. Video footage from the bustling Hachiko intersection is layered and treated in a way that references the patterns and colour palettes of the fracturing technique used to generate urban camouflage designs. The video is projected from behind a portable Japanese byobu or folding screen. The audio component features ambient street noise and a steady drone which fluctuates in pitch and intensity according to the proximity of foreground figures to camera lens.
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Columbus' Dream (2007)
Part of the Tokyo City Spaces project. Video footage of late-night commuters returning home to the Tokyo suburbs is stitched together to form a series of continuous loops. These sequences are played through four vertically-oriented CRT monitors housed within a steel structure.
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Synesthesia (2007)
Video clips of sporting events, television snow and test patterns are arranged in a way that develops and repeats according to the Classical Rondo structure. The video is looped and played through CRT monitors in the exhibition space. Magnetic pickups are placed in front of the monitors, and the image is converted into an audio signal which is then filtered through an array of equalizers and effects pedals before being amplified.
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Anomaly (2006)
Six kinetic sculptures are placed outside and along each side of a busy transitory corridor. These spinning steel structures are powered by cordless electric screwdrivers, and tap on the large glass window panes of the passageway. The acoustic characteristics of the space render this percussive sound into an immersive and reverberant listening environment. The performance ends when the screwdrivers exhaust their respective power supplies.
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Intonarumori (2006)
Inspired by the noise machines of Luigi Russolo, this piece places various vibrating devices that would normally be found in the bedroom or bathroom on a rotating turntable. The devices pass in front of two guitar pickups, and the resulting audio signal is sent to an amplification system housed within a metal structure made of dismantled folding chairs, a cooking pot, a filing cabinet, and a trash bin.
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