I Can Show You Better Than I Can Tell You

horse reins, two cellos

3 minutes 27 seconds

2018

I am interested in using the body as an instrument or tool of research to gain insights into our haptic capabilities and how they play a major role in our understanding of self. This work brings to light the ways we communicate with one another through visual reaction, physical reciprocity, and audible instigations. This act of reciprocity is the basis of a conversation. 

 

The right hand that holds the bow is connected to the reins that are held by the other cello player, and the left-hand holds the rein that is attached to the other cello player’s bow hand. So, the movement of each bow triggers a response from the other cello. This poetic notion of give and take offers an understanding of the bodily ways of knowing and the necessity of reciprocity within communication.

Side B: No Oultet

record player, record, salt, recorded audio

1 minute

2018

Watching the landscape pass by from the passenger seat of a car reminds me of the rhythms and tempos that are found in musical compositions. Each fence post a metronome tick, each dashed yellow line a beat in a measure, physical objects and signs demarcating time and space just like musical notations define time and tone. 

In Side B: No Outlet, I am interested in comparing the ideologies and theories of music with the structure of agriculture and land use. As the needle is set on the record covered with black rock salt, the sound of a car driving over a gravel road begins to sound. The picture of the needle physically bounding across the vinyl emulates the jumbled sounds of bumpy gravel road. 

Lines & Borders

stop motion and auido

5 minutes 50 seconds

2019

Watching the landscape pass by from the passenger seat of a car reminds me of the rhythms and tempos that are found in musical compositions. Each fence post a metronome tick, each dashed yellow line a beat in a measure, physical objects and signs demarcating time and space just like musical notations define time and tone. 

In the stop motion short, Lines & Borders, I am interested in the visual relationship between barbed wire fences stretching across the landscape and the empty piano stave, five lines in each. I repeat a blank piano stave over and over in order to give the feeling of a moving fence line coming in and out of focus. 

Looking Through The Frame

iphone videos from a car window, audio recording from The Tank: Center for the Sonic Arts

6 min

2019

Watching the landscape pass by from the passenger seat of a car reminds me of the rhythms and tempos that are found in musical compositions. Each fence post a metronome tick, each dashed yellow line a beat in a measure, physical objects and signs demarcating time and space just like musical notations define time and tone. 

In this six-minute video, there is a split-screen comprised of iPhone videos taken out of the passenger seat of a 15 passenger van, one on each side of the van. As the landscape passes by along with the highway, and traffic, a rhythm begins to be composed; a beat of cars, horizon lines, and painted asphalt. The most common way that humans view the landscape is from the seat of a car. If you look hard enough, you can hear the movement of the tires across the road, the woosh of cars passing by, and add it to the steadily passing mise en scene. 

© 2018