Sweep Range (Adapt Mode), 2016
(3ft x 4 ft H/ 91.44 x 121.92cm)
This series looks at the most basic signifiers of analog machines. Using oscillators, generators, and amplifiers that are the core components of my sound and video practice, I address the translations that occur between machinic and human bodies—cognitive, sensual, tentative. Moving beyond their utilitarian functions, these steel forms bend away from their original structures, implying rupture and unpredictability. The grid of their operations is stripped down to the elegance of open commands: “Off,” “All,” “High,” “Low.” Taken together, they become unstriated surfaces, with linguistic and sculptural performances implied in a looping, open-ended system.
Sweep Range (Marker Size), 2016
(3ft x 4 ft H/ 91.44 x 121.92cm)
This series looks at the most basic signifiers of analog machines. Using oscillators, generators, and amplifiers that are the core components of my sound and video practice, I address the translations that occur between machinic and human bodies—cognitive, sensual, tentative. Moving beyond their utilitarian functions, these steel forms bend away from their original structures, implying rupture and unpredictability. The grid of their operations is stripped down to the elegance of open commands: “Off,” “All,” “High,” “Low.” Taken together, they become unstriated surfaces, with linguistic and sculptural performances implied in a looping, open-ended system.
Sweep Range (Sweep Mode), 2016
(3ft x 4 ft H/ 91.44 x 121.92cm)
This series looks at the most basic signifiers of analog machines. Using oscillators, generators, and amplifiers that are the core components of my sound and video practice, I address the translations that occur between machinic and human bodies—cognitive, sensual, tentative. Moving beyond their utilitarian functions, these steel forms bend away from their original structures, implying rupture and unpredictability. The grid of their operations is stripped down to the elegance of open commands: “Off,” “All,” “High,” “Low.” Taken together, they become unstriated surfaces, with linguistic and sculptural performances implied in a looping, open-ended system.