>1. your website promotes
both paintings and soundwork, are they
>equally important disciplines to you? have you ever combined the two
>media's , in an installation for instance or do you regard them as two
>separate means of expression?
they are very much equal,
although more time has been spent lately on the
sound work. they are both very different outlets of creativity/expression
that have influenced the other aesthetically, stylistically and in process.
they each inspire new work in the other.
after recording my first
cd "direct.incidental.consequential" (during which
i stopped painting) the way i approached painting changed. the recording
process itself and the act of working with sound as a medium freed my
painting up. previous to that recording i had been working with systems and
series incorporating grids and modular works, in other words rather strict
visually. i think since i had stopped working with sound to pursue visual
art solely, working with sound again was siginificant for me.
my sound and paintings have
only come together once, in april of 1999 i
presented a diptych/sound piece "arranging between patterns" for a show
called FUZZY (the show dealt with fuzziness as a texture, fuzzy sounds,
fuzzy logic, fuzzy imagery, and memory) at the WPA/Corcoran Projectspace. i
used the diptych as a provisional score for the sound piece that was
presented in the adjacent room. i utilized the visual elements such as
density, spacial relationships, size, etc and translated them
(subjectively) into auditory elements such as volume, tone, frequency,
duration etc. each of the 2 panels was translated into a 10 minute piece
for a total of a 10 minute piece... a version of this piece is on the CD "a
both my sound and visual
are related....i still feel as if i am painting
with sound. i look at the paintings in terms of sound sometimes. both are
very "non-referential" which is a quality i always strive for... purely
abstract as oppossed to abstraction.
>2. do you have any particular
influences when it comes to your visual
some of the artists who have
influenced my work over the years include:
Alberto Burri, Antoni Tapies, Gyorgy Kepes, Carl Andre, Marcel Duchamp, Cy
Twombly, and Harry Bertoia.
plus i have always been fascinated
by the composition of an exposed
cracking peeling wall or the patina of metal exposed over the years to the
elements. so that influence is constantly around me....
and i am always listening
to music when i paint of course.
>3. do you perform your music live?
yes, but i am more at home in the studio than on stage : )
i will actually be doing
more live performances this year. taylor deupree
is currently planning a kind of short 12K tour with himself, dan abrahms,
and me. i have approached about performing at some festivals that are in
when i perform live its just
me and my mac G3 powerbook (not much of a
>4. your latest solo CD
'a hesitant fold' is remarkably sparse and seems
>to almost withdraw itself from my attention while listening to it. tell
>me your thoughts and intentions with it.
thank you... it was somewhat
intended to do just that...
the work i am currently composing is far more sparse and quiet than that
release which seems very dense to me in comparison. i actually just
finished recording my next solo release this today. the pieces of mine
included on the "lowercase" compilation and the new 12K comp "12K008" give
an idea of the direction my latest work.
(just a side note) most people
don't know that the cds "a hesitant fold"
and "post-fabricated" (on microwave) were created simultaneously. they grew
out of each other so to speak. "a hesitant fold" was begun first.
>5. haven't heard your
CD with taylor deupree but the collaboration you
>did with *0(nosei sakata) is in comparison a lot more intense and almost
>aggressive, do you feel that it was a successful collaboration
>in regards to your intentions/extectations?
nosei and i created that
work back and forth though the mail. i was very
intrigued when i would receive his re-workings back... i could recognize
elements from the pieces i had sent him prior.. but it was always suprising
how he utilized the sounds and compositions. an interesting evolution. that
work was the first time i had collaborated with another sound artist.
i am definately pleased with
the results, i agree that it is rather
intense. i find it rather unnerving listening to it. unsettling.. i think
that comes alot from nosei's influence on the work. we are both working
with a similar aesthetic which is why we wanted to collaborate. nosei's
work has an intensity about it... the unexpected... a certain raw sense of
suspense on th "0/r" cd.
my work tends to be more
subdued i think. some of the original material
that was sent to nosei was actually from the sessions of recordings from
before and during the making of "direct.incidental.consequential" which
also has a more raw aesthetic.
with the "SPEC." collaboration
with taylor, we were actually in his studio
in NY working on tracks after having worked on material separately with
each other sound files. a very different process.
nosei and i intend to collaborate
again to do "0/r.2".
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