• Info

• To me, the McNamara Gallery is a liminal space- a threshold, between states, borders. In such spaces, there are constant flux, neither one state, nor the other. Antenna Clouds is composed of many feedback oscillators with a light and a speaker calling out, listening and responding to each other. Each pulse and light are the products of the oscillator. Each oscillator is also listening, or sensitive to its surround light environment. As the light levels change around each "antenna", the oscillator fluctuates and with it's individual light and speaker, embodying this response. In turn, it affects another cloud, and so on, endlessly calling out and responding to each other, creating a constant feedback loop. The clouds never stabilize, only making palpable the liminal nature of this space.
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Then Ether (2007)
Responsive Light and sound environment
Speakers, lights, microphones, custom electronics, custom programming

Video Document____


Then Ether (2007) is a responsive multi-channel sound and light environment. It records viewers as they enter and exit the space, and plays these sound clips within the larger installation space. Untitled (fade) (2007) deals with the memory of its space, and the activity that was once within it. Sound files play shortly after they are recorded, so that viewers are able to hear themselves within the installation. The file then slips into a database, playing back randomly over time. At times, the installation space is relatively calm and quiet. At other times, the space swells with sound, triggering many “memories” (sound files) at one time, creating a mild cacophony that will exist within it’s walls. This is symbolic to the haphazard and random nature of memory, as well as the questionability of being able to access it.

The sound is constantly refreshing, to include the most recent memories, combined with sporadic instances and sporadic swarms, of distant memories. These distant memories are broken- playing at random points within the file, rarely playing from the beginning to the end, which fractures their instance and their identity. Re-introducing the most recent past with the late past, elongates and collapsing each viewer’s sense of time while orienting them comparatively in the lifespan of the installation. The viewer is not merely the center of the piece as it runs, but slowly becomes part of the fabric of it’s existence in the space, long after their body is absent. They have an ongoing effect in the space, but not an on-going control. The durational nature of this installation enlarges the installation space by expanding and abounding upon the notion of time and presence of the viewer, going beyond their physical bodies. This installation freezes moments, and allows viewers to continually enter the space, long after their bodies are gone.