22nd October, 2014
This is documentation of our electro-magnet/neodymium ball magnet setup that we use in our sound performances re-cast as a mark making element for a print project at the Pilchuck print studio.
We set the magnets up on an inked plate and let them roll until they were covered in ink and had left marks on the plate. We then made a print with that plate, and then placed the electro-magnet setup on the print’s surface, in the same configuration, and let the neodymium magnets deposit the ink they had previously gathered.
The magnetic field oscillates in response to changes in EMF.
The prints we made will be exhibited in Seattle during November.
16th September, 2014
temperament series are new recordings of performances with glass instruments and electromagnets developed during our residencies at the Museum of Glass and Pilchuck Glass School.
images are on our flickr.
19th August, 2014
For our Museum of Glass residency our preparation included a material investigation of glass that resulted in an interest in its sonic and sculptural properties. We worked with combining fundamental glass forms (goblets and vessels) and electro-magnets (as a way of making sound), and making those forms resonate by striking and bowing them. A concept of hybridization, experimentation, improvisation and performance began to emerge.
We arrived at the museum with non-dimensional drawings based on the physiology of the inner ear that functioned as starting points for the development of sculptural and sound making objects that we developed and made with the hot shop team.
Informed by our research and recent developments in our collaborative practice we took the opportunity to engage the hot shop as studio space, installation space and performance space.
The results of our process included sculptural objects (two of which are now part of the museum’s permanent collection), drawings, an installation and sound performance.
The sculptural forms we made also functioned as acoustic resonators in our sound performance.
for the flickr set click here.
6th August, 2014
Lili Maya and James Rouvelle at the Museum of Glass
we’re working on our own documentation from MoG and Pilchuck (performances, sculpture, drawing and prints) that we hope to post by the end of the month.
2nd July, 2014
Lili and I are the current Artists-in-Residence at the Museum of Glass in Tacoma, WA. We’re working on an assemblage of glass instruments with electronics that we will perform with on Sunday afternoon, July 6, between 2-3pm Pacific Standard Time. It can be seen live here.
In addition to the performance, our work leading up to it in the hot shop will also be streamed live when the museum is open via this link.
29th April, 2014
The music is a variation on the Song of Seikilos.
16th October, 2013
more details for the work are on the vimeo page.
Influenced by our time walking in and around Paris, La Générale and the jardins de Versailles, à la vitesse de ton souffle is an installation in the form of a sequence of compositions and spaces made of sound, light, objects and movement, activated by visitors walking through the gallery at the speed of their own breathing. Each composition oscillates and slips between various binaries: formal and semiotic, interior and exterior, found and placed, organic and artificial, operand and operator. à la vitesse de ton souffle is a perambulation in a twilight heterotopia of green and pink noise.
Influencés par le temps passé à nous promener dans et autour de Paris, La Générale et les jardins de Versailles, à la vitesse de ton souffle est une installation qui prend forme dans l’ordre des compositions et des espaces créés par le son, la lumière, les objets et les mouvements, activés par les visiteurs qui se déplacent dans l’espace à la vitesse de leur respiration. Chaque assemblage oscille et glisse entre diverses dualités : formel et sémiotique, intérieur et extérieur, trouvé et placé, organique et artificiel, opérant et opérateur. à la vitesse de ton souffle est une pérambulation dans un crépuscule hétérotopique d’un bruit vert et rose.
24th July, 2013
au concert printemps flottant is a maya.rouvelle installation shown at the palais de tokyo as part of concert hall, a large collaborative work included in nouvelle vagues.
au concert printemps flottant is a kinetic installation composed of organic and industrial materials, including a live tillandsia medusa, a custom LED grow light, a motor, and commercial gas vapor street lights, among other materials. a micro-controller regulates movement and changes in lighting intended to both sustain the tillandsia and reveal a sequence of 26 short variations in movement and light over 11 minutes. au concert printemps flottant was built and programmed on-site during the installation period for nouvelle vagues’ concert hall and was influenced by, and references, the themes of music, play and integration at the heart of this exhibit.
the materials include: tillandsia caput-medusa, electronics, plastic tubing, metal springs, custom electric light, vellum, wood, paint.
the dimensions of the work are approximately 10’x20’x15′.
click on the images above or here for the flickr set.
31st October, 2012
quine was shown at our solo show at die Botschaft, and is named for logician/mathematician Willard Van Orman Quine. a quine is a computer program that takes no input and produces a copy of its own source code as its only output. our quine was made with the shadows of leaves and branches, and light (sunlight and streetlight) that played across the gallery wall behind it. the changes in light on quine’s surface are intended to evoke an active slippage where the edges of the work expand and contract with the changing ambient light of its environment. the piece is solar powered and composed of motors, circuitry, wire, tape, vellum, leaves, and LEDs.
still images here