Steel buckets, plywood, guitar pickup, guitar amplifier, loop pedal, fishing wire, water
Water slowly drips from top bucket into bottom bucket. Guitar pickup and loop pedal beneath bottom bucket record and loop the sound of the drip. Over the course of the installation the sound from the bucket loops into a drone of drip sounds while the actual water evaporates before it can accumulate inside the bottom bucket.
Box With the Sound of Its Own Ruin
Plywood, fan motor, guitar strings,
Motor built into wooden box spins guitar strings against the interior walls, slowly cutting into and destroying the box from the inside.
Sound (whispered bedroom conversations between the artist and partner), Payphone, Digital media player
In the permanent collection of Trifin and Jeannie Roule.
Human Rights Helpline
Sound, Rotary Telephone
for Freddie Gray (featuring Peggy Lee and Kendrick Lamar)
Sound, oil drum, nickel plated hardware, speakers, light bulb
Body Camera Project
Collaboration with Nehemiah Dixon III
Video, official Prince George's County MD police body cameras
Shawn Smith: Pixels, Predators, and Prey
Score to featurette
Comissioned by Artisphere and Stock Productions
You Never Call Me Anymore
Sound, Rotary Telephone
Piece and Quiet
Arlington County Libraries
Outside and Play
(an experiment in connectivity)
Sound, Interactive Performance
Hillyer Art Space
A modified reprisal of 2013's Outside and Play, a brand new group of musicians gathered to perform pieces they'd individually written to accompany the original composition. Having never rehearsed as a group, the ensemble, spread throughout the gallery space, played their respective pieces along with the original for the first and only time as listeners moved about the gallery listening to the (sometimes chaotic) blend of sounds.
14 channel composition broadcast over 100+ speakers
Artisphere (with Transformer)
househusband was composed and recorded over a period of four weeks within the residence of my in-laws using only household objects. This particular experiment in restriction is meant as a document and critique of the western domestic landscape. A set of wind chimes, a toy ukelele, a full bathtub, a basement drum kit, and an antique family heirloom piano are the main sources of sound.
E11: CODA marked the 11th season of Transformer’s Exercises For Emerging Artists program. Launched in March 2004 to support a select group of artists beyond the art school experience but still emerging in their artistic careers, this peer critique and mentorship program is intended as a ‘jump-start’ for DC area artists seeking to connect with peer artists & mentors in an intensive critique process as they create a new work or new body of work. Artists invited to participate in the Exercises are nominated by Transformer staff, Advisory Council, as well as area arts educators and curators.
Focusing on a different artistic discipline each year, E11: CODA focuses on artists working within the discipline of sound art. This year’s selected Exercises artists included: Alex Braden, Emily Francisco, E. Jane, and Ian McDermott. Beginning in March 2014 and spanning through the end of June, these artists met bi-weekly with this year’s Lead Mentor Ryan Holladay, Artisphere’s New Media Curator, Transformer’s Exhibitions & Gallery Coordinator Julia Young, and invited guest mentors, to receive insightful feedback on their creative processes and concepts of sound art through various methods and mediums. E11 guest mentors included John Henry Blatter, Alberto Gaitán, and Christine Sun Kim. The program culminates with a group exhibition titled Coda, presented at Artisphere as the final movement of Fermata, a sound art exhibition co-curated by Holladay.
Collaborative Installation (with Amy Hughes Braden)
Sound, Aluminum Cans, Paper Mache, Voice
Bottomless Mimosas has been wittily reviewed by the Washington City Paper. Read more here
'Bottomless Mimosas' is an exploration of the potential of an object and the lifecycle of material. We've taken sounds sampled exclusively from the emptying and destruction of a single aluminum can and used them to create the ambient landscape of the installation. Temporarily diverting them from their path to being recycled into new aluminum objects, hundreds of beverage cans litter the floor of the gallery so that listener-viewers have to wade through them as they enter the space. In the center of the room sits a sculpture which houses another set of sounds, some of which have been borrowed from a late 1990s Top 40 song.
In defining an object, we often refer to its form and function. By presenting these aluminum cans in their various states of disrepair alongside a soundscape from their destruction and manipulation, the cans are redefined within the contexts of human intervention and linear time. It's a safe assumption that any one of the cans on the floor is comprised of shreds of aluminum from hundreds of recycled cans that existed before it did; and any of the sounds playing above, while now sounding alien could have once been the familiar sound of a cold beer being cracked open. If it's true that a slab of marble is a sculpture waiting to happen, could a finished sculpture in turn just be a pile of gravel in waiting? At what point does an object achieve its full potential? Are the cans on the floor litter or are they an acoustic instrument waiting for shuffling feet to activate their potential sonic energy? And what about intangibles like seminal 1990s pop songs? Does the appropriation of a sound redefine it, or is it simply a short stop along a song's path to being forgotten?
Outside & Play
(E)merge Art Fair, Washington, DC
Without having ever rehearsed as a group, an ensemble of musicians spread throughout the parking garage of the Capitol Skyline Hotel play in a variety of harmonies and juxtapositions along with my pre-recorded composition (available for public download prior to the performance). Listening through headphones and their digital audio player of choice, the audience and the ensemble press play simultaneously, leaving the musicians to play their parts in solitude while the audience can roam freely listening to a dynamic blend of headphones and live performance.
a sound installation at Artisphere
Orphan is an auditory sculpture experimenting in sound localization that exercises the brain’s unique ability to identify the origin of a sound according to the information it receives from the ears. As opposed to modern stereo recordings which utilize artificial reverberation and panning to trick the brain into an assumption of depth and space, Orphan is a physical sphere, a fully three-dimensional listening environment that allows the listener to engage with recorded sound in a much more dynamic and lifelike manner. Each of the nine speakers that comprise Orphan—placed above, below, and beside the listener—plays sounds that are unique to each speaker; but together they become a spherical and harmonious chorus, a sublime aural experience.
It's Like, Sometimes You Just Want to Throw on a Pair of Daisy Dukes and Go Outside and Garden but You Can't Because of Feminism
Collaboration with Amy Hughes Braden
EMP Collective, 2013
Madame X, Bella Russia, 2013
Art Direction, Composition
Collaboration with Yassine el Mansouri