A 4ft x 4ft resonating platform composed of instruments–4-ft glass vase, desiccated banana, deflated balloon, microphone-encased-in-melting-ice, non-ice-resin-microphone-cubes, dried leaf–is the stage for a performed sound score. Inviting the audience onto the stage, Traps and Transmutations, responds to the changing weight and pressure of these forms through a varied expression of resonating frequencies and overtones. The digital recordings–blowing up a balloon, the artist singing “concave, convex” into the glass vase, a cat purring, “knockings” of the artist’s body against the walls of the gallery, the resonate frequencies of the glass vase and the room of the gallery–transmute (through tactile transducers and bass shakers) these soundings through the platform (low frequencies) and glass vase (high frequencies). The resulting composition point to the mechanism of the recordings themselves–the microphones–and their potential to impose discrete, contained, digitally replicable, representational traps of bodies in space. This relationship is then paralleled to the bounded space of the stage and the finite, but infinitely transmutable, space of the body.
The Social Register
Saturday, 19 September 3-6pm