Whether I am working in the context of installation, flatwork, or performance, I am always interested in challenging the expectations of the audience and the passive role that is traditionally assigned to them.
This is often achieved by directly involving and immersing the audience within the work, especially in the context of dynamic, and often reactive, site-specific installations, and experimental sound performances. In my installation work, I am particularly interested in the aesthetic and emotional qualities of environments and objects that are in states of transition, disuse, or decay, and the histories that they conceal. Using sound, light, and appropriated technology, these environments and objects are given voices as they become reanimated. During the creation and exhibition of such work, unpredictable reactions and interactions occur between the work, the site in which it inhabits, and those that come in contact with it, and subsequently, the work begins to assume a life all its own.
My installation work and sound performance/recording work continually inform one another, and often converge, particularly in terms of treatment of space, use of sounds inherent to and related to the site at which the work exists or is created, and the pairing of reactive lighting elements to sound. My sound performance/recording process involves live processing, looping, and layering of original and found sounds, including guitar, bass, voice, percussive objects, field recordings, and feedback. The aesthetic of the sound(s) travels freely between abstract textures, melodic and musical sounds, and pure noise. I currently perform/record solo and collaboratively under my own name, solo noise work under the moniker T/R, as well as within a number of ongoing collaborative projects.