Life is a performance and all potentialities arise from the act of trying. Improvisation is the essential element of creative space, the building block of collective experience. From this transcendent lens, a dance is the sum of its singular inspired parts; a song is the reverberation of a instantaneous and euphoric emotional eruption.
My interdisciplinary practice is a manifestation of the duelling identities, sound and movement, that joust deep in my psyche. To process my experiences I use many articulations of these disciplines to understand the world around me. I create pieces that explore human eccentricities through vocal abstraction, physical manipulations, experience, and visual metaphor. The desire to communicate on a sensory level is of utmost importance to me and everything I see, hear, and do has the potential of being source material for choreography or noise soundscapes. A buzz, a purr, a railing, a sidewalk, a table, a dress, a halting train, a humming refrigerator, a creaking door, a giant ladder, are all opportunities waiting to unfold.
Incorporating these inspirations from everyday life, my solo sound practice has evolved from random sounds to focused repetitive, looping cyclical patterns, and processed, affected vocals, with continual articulations on the same sound or combination of lyrics. A variety of conceptual techniques are explored in this practice of sound making utilizing tools like voice, breath, throat singing, discarded electronics, keyboards, a modified theremin, field recordings and delay pedals.
Video and installation are key forms used to delve into my fascination with the complexity of perception and its potential distortions. One of my recent works, Cupboards, a piece in which I climb through my partner’s kitchen wearing only a slip, defines this process. The piece was conceived, performed and filmed in one evening, making its physicality muscular and urgent, and its sound mundanely authentic. Cupboards explores domesticity, confinement and legitimization, set to a symphony of the sound of my breath and growing exhaustion. The low-fi combination of lighting, and improvised movement creates a strong sense of anxiety and suspense. Other conceptual video performances, like of Bladerunner, pick up where the themes explored in Cupboards leave off, critically engaging with elements of popular culture, such as reality television that reflect the complexity of our social and self-made realities. These solo expressions are only a part of my situating my practice of being an artist within a guarded and yet connected human landscape.
I have always carried a sense of heightened urgency in the creation and musical production process, and in my most recent projects, this urgency has become a central theme in my work. The now is my tomorrow. I focus attention on the life spans of my musical performances, understanding that they exist before and beyond the physical presentation of the work. Each work is a holistic and unfamiliar territory in which sound and the surrounding elements combine to create a unique output. Over the years, my improvised process has honed itself to focus on a single point of departure. Every articulation and every musical choice is based on a work’s originating concept. The resulting performance videos like Don’t forget me, offer immediate images that are at once simple and understandable, but sad in their strangely shaped authenticity and familiar in their organic, visceral movement qualities that are inevitably universal. It’s in this place where the intimately familiar and uncomfortably foreign meet in creative discovery.