installation works

Livello del mare estremo|Terra perduta

(2023)

multi-channel sound, field recordings, hydrophone recordings, real-time sound processing

duration open

Alle talte samme språk

(2020)

multi-channel sound, environmental sensors, textiles, sound synthesis, real-time sound processing

duration open

Birding the Future

(2013 - ongoing)

multi-channel sound, real-time sound processing, stereoscopic composite photographs, stereoscope

duration open

Birding the Future is a multi-layered, interdisciplinary project designed as a global series of site-specific artworks that explore issues of species extermination and biodiversity while specifically focusing on the warning abilities of birds. The work is an intermedia installation incorporating multichannel sound, stereoscopic composite photographs, text, Morse code messages, calls of endangered and extinct bird species and a sonic rendering of projected species extinction rate. Birding the Future offers a multi-perspective approach, linking multiple histories that overlap and connect birds, humans, cultures and places and the ways in which technology mediates those encounters. Emerging technologies are revolutionizing how we engage our world and can provide new methods for understanding and then addressing the many environmental challenges we are facing. Most of the benefits as well as destruction of biodiversity occur at a local level. By focusing on local ecosystems in a number of regions across the world, the project combines notions of site-specific and site-adaptable to highlight regional specificities while simultaneously mapping global commonalities.

The project poses questions such as: What might happen as the messages of birds are increasingly being silenced? What does it mean that we can only see and hear certain species through technology? How might we bridge knowledge systems using traditional and emerging technologies to develop a cross-cultural praxis for ecological futures rooted in a kinship with the world?

Birding the Future is created in collaboration with interdisciplinary artist Krista Caballero (USA). So far eight series of the project have been completed: Queensland Australia Series, Arabian Peninsula Series, Norway Series, Mid-Atlantic USA Series, RheinMain Germany Series, Barrow Valley Ireland Series, Names Series and Lab Series. In addition to the installation, the project includes a web site that serves as an archive while seeking to map and connect regional issues of biodiversity with a global perspective. Details at birdingthefuture.org

From the Car

(2006)

2-channel video, multi-channel ambisonic sound

120 minutes, continuous loop

From the Car was commissioned by the Arizona State University Art Museum as part of the group exhibition New American City: Artists Look Forward, focusing on the role of art and artists in the rapid growth and expansion of the Phoenix area in the southwestern USA. From the Car comments on the massive sprawl and car-centric planning of the expansion of the city. The source material includes video footage shot through the side window of a car while driving for one hour north, south, east and west from the exact center of downtown Phoenix, as well as the sound of traffic, air conditioners, car alarms, traffic reports, temperature forecasts, airplane noise and other soundmarks typical of this major desert city.

The work is designed for installation in a rectangular room with video on two opposing walls and loudspeakers appropriately placed without obstructing the projection screens.

From the Car was created in collaboration with photographer Betsy Schneider (USA).

7 minutes

(2005)

4-channel audio, real-time sound processing, video, photography, poetry recitation

duration open

7 minutes was created in collaboration with photographer Brent Hirak (USA) and writer Kriste Peoples (USA). It was first installed at the kitchenette gallery in Phoenix, Arizona, USA.

As silence is increasingly difficult to come by, sound is virtually a constant in our lives. Yet we often really notice sound when it's extremely offensive or pumped out in a familiar and slick package; everything else becomes background. But what is this background sound? What are we hearing and how does this constant passive, semi-conscious listening affect us?

Lorry Red Lorry Yellow consists of a virtually infinite number of permutations of sounds taken from both outside and inside the exhibition
space. These ubiquitous yet ignored sounds are taken out of context and put into a gallery where they become a highlighted version of themselves. They are sounds we hear everyday, part of the fabric of the background, sounds which we have all learned to block out. Presented in a gallery setting will they command attention? Out of context, do they become important? In Lorry Red Lorry Yellow, we put sound up for consideration. This piece is a nod to sound as an integral part of the formula which defines our quality of life. Above all else, this piece is an invitation to the audience to listen to each sound in the din of life.

Lorry Red Lorry Yellow was commissioned by The Central School of Speech and Drama in London, UK, and created in collaboration with composer Jo Thomas (UK).