installation works


Birding the Future

(2013 - ongoing)

multi-channel sound; stereoscopic composite photographs; stereoscope
duration open

2016 Arts in Foggy Bottom Sculpture Biennial, Washington DC, USA

2016 Arts in Foggy Bottom Sculpture Biennial, Washington DC, USA

Birding the Future is a multi-layered, interdisciplinary project designed as a global series of site-specific artworks that explore issues of species loss and biodiversity while specifically focusing on the warning abilities of birds. Birding the Future 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 extinction rate. The project 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 can traditional ecological knowledge be combined with technological advances to increase awareness of our role in and effect on the environment?

Birding the Future is created in collaboration with interdisciplinary artist Krista Caballero (USA). So far five iterations of the project have been completed: Queensland Australia Series, Arabian Peninsula Series, Norway Series, Mid-Atlantic USA 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

Birding the Future Norway Series was created with support from the Art and New Technology program at Arts Council Norway.


From the Car

(2006)

2-channel video; ambisonic sound
120 minutes, continuous loop

Arizona State University Art Museum, Tempe, Arizona, USA

Arizona State University Art Museum, Tempe, Arizona, USA

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; video; photography; poetry
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.


Lorry Red Lorry Yellow

(2000)

4-channel sound; framed text with braille translations
duration open

The gallery@The Central School of Speech and Drama, London, UK

The gallery@The Central School of Speech and Drama, London, UK

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).


Works for Hire


I grevinnens tid

Ringve Music Museum, 2016

Multi-room sound design; ambisonic and multi-channel sound

I grevinnens tid (In Time with the Countess) is a historical exhibition at the Ringve Music Museum in Trondheim, Norway, focusing on music and people in the city of Trondheim in the years 1740-1815. 


Deer Valley Rock Art Center, 2011

parabolic speaker system; sensor-triggered sound

Sound restoration and editing of exhibition sound material, as well as installation of sensor-controlled, parabolic listening system for the Deer Valley Rock Art Center in Phoenix, Arizona, USA.