sound-traces
embodied transmissions
researching radio’s ability to carry presence through space and time
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Documentation of the work “Migrant Vessels” which I developed with Michael Halls during the Field School we attended at the CMMAS in Morelia Michoacán, Mexico.
The work is an action based installation for resonating water jugs, transducers, radios, found objects and four live performers.
Christine White and Sarah Barone participated as performers for this debut
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Visited the installation “Mariposa Relampago” by Guadalupe Maravilla at the ICA Watershed in Boston, MA.
His work uses sound as a method for healing which is similar to my earlier work with radio. This visit was very inspiring for future work
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I adapted my performance using inter modulation for a live radio broadcast during the exhibition “Insomnolence”, which explores insomnia, sleep, and awakeness.
My performance combined recordings I made of both human and nonhuman night time activities
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Testing work in progress performance at an Album Launch at Atelier Belleville
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Questions I’m considering
What is my role as a performer? How do I embody myself within the materials I am using in the performance? How do I use movement and my body to convey and support the sonic elements of the performance?
When making field recordings, how do I honour and respect the place from which I’m visiting?
How can I speak to entanglement and identity through nonhuman elements (i.e. Territory, Celestial, Animal, Agriculture, etc) ?
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Documentation from my second semester MFA end of term presentation.
Title: The Vestige del Mariachi Perdido (2023)
Medium - Sound intervention installation
Material - PA system, architectural print on archival paper, white vinyl, performance artifacts
Duration - 60 min loop
Dimensions - Variable
Project Description
The Vestige del Mariachi Perdido intervenes in the sterile walls of the white cube gallery space through a traditional PA system which transports a performance intervention of a wandering a Mariachi trio accompanied by the sound of piñatas breaking and celebrations of Mexican independence.
This work is inspired by a classic Mariachi song El Niño Perdido. In the song, one trumpeter hides while another plays a melodic phrase with the band. The hidden trumpeter then responds with the same melody. This call and response continues and slowly the two trumpeters are brought together. Influenced by this form of poetic wandering, Rodríguez shared a score of a choreography for the musicians to follow at the base of a cross of elevators in the corporate halls of the Place Ville Marie.
This installation seeks to distil the essence of a performance when the gesture is finished. Where the performance intervened in a corporate work space this installation broadcasts an audio recording of the Mariachis on an intercom speaker system installed on the institutional gallery walls. Located on the floor in the center of the gallery is an architectural print of the floor plan marked by dirt from boot prints left on it during the performance. In the gallery white vinyl text of the choreography instructions are installed on the white walls.
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Large format 84”x56” print done at Post Image Lab at Concordia University. This is my first time working o with an image this size. The print took 2.5 hours and was printed on a banner material as it can be used outside. Which is something I am considering for next semester.
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Large format printing at Post Image. Learning how to work with big dimensions. This image is 84” x 56” and took about 2.5 hours to print.
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