Archive for the ‘artworks’ Category

Pilchuck Glass School Residency Documentation

Monday, December 8th, 2014



click here for the complete set on Flickr

During our residency at Pilchuck Glass School, we expanded on work started at the Museum of Glass and we developed a series of new works involving sound making objects, printmaking and drawing. We gave two performances during our residency, and some of our printmaking was exhibited during November 2014 at the Pilchuck Glass School Exhibition Space. Additional documentation of our performances and print process are linked below.

Our sound work with glass involves the creation of shapes that can be bowed or struck to produce fundamental pitches and harmonics so that one instrument can sound more than one pitch. Working carefully with our expert gaffers, Manny Krakowski and Netty Blair, we were able to make several variations of vessel shapes that each produced a complex spectrum of tones. We were also able to develop methods of linking two or more objects on a rocking base so that two objects could be played simultaneously by one player and variations on timbre and attack through bowing, striking, rocking were possible.

For our performances we grouped objects in terms of their tunings and timbres making tuning changes (by reshaping, or filling vessels with water) where necessary to create a specific temperament. Once we created a temperament we improvised extensively with it and developed compositions for it. Our compositions are a mix of rehearsed sections/gestures connected by improvisation. While we usually decide how to start and end, the pieces are largely determined during the performance.

In both our sound and print work we used electro-magnet/neodymium magnet setups where the magnets moved in response to changes in the polarities of our electro-magnets that were triggered by fluctuations in the EMF of the space where they were.

As sound, the clinking/tapping of the magnets against glass added a percussive, chaotic element to our compositions; something that fueled our improvisations as the magnets never behaved the same way in each performance.

For the prints, we used the same set of circuitry, vessels and magnets, but as mark making elements. We set the magnets up on inked plates and let them roll until they were covered in ink and had left marks on the plates. We then made several prints with the plates, and then placed the electro-magnet setup on the prints’ surface in the same configuration and let the neodymium magnets deposit the ink they had previously gathered. Freshly inked magnets were also added in the process. As with the sound pieces, the electro-magnet’s polarity oscillates in response to changes in EMF around them.

Our drawings incorporate variations on the shapes of the goblet and the vessel, primary glassblowing forms that suggested to us the physiology of the inner ear. The drawings functioned as non-dimensional starting points for the development of our sculptural and sound making objects.

Our time at Pilchuck was special and we are grateful to the long list of wonderful people who made our experience so memorable including Tina Aufiero, Rebecca Arday, Jim Baker, Ben Wright, our gaffers Manny Krakowski and Netty Blair, our assistants Keunae Song and Anna Masowsky, Alex Gibson in the printshop, Rebekah Birkan, who constructed the amazing frame for the goblets from found metal in the Pilchuck metal shop and Zach Lorenzetti who made music with us and assisted behind the wheel!

quine (with lili maya)

Wednesday, October 31st, 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

mottetto (with lili maya)

Wednesday, October 31st, 2012

mottetto was shown at our solo show at die Botschaft, and is an illuminated drawing in space composed of three similar robots whose LEDs are individually programmed to slowly oscillate between different hues of blue and green. with each oscillation the target hues change, slightly. these changes in color interval expand and contract the speed at which the LEDs change color. each of mottetto’s robots have subtle, distinguishing characteristics.

still images here

resonance (with lili maya)

Wednesday, October 31st, 2012

resonance was shown at our solo show at die Botschaft, and is a kinetic sound work composed of suspended tubing, wire, and electronics. a small motor bounces across the open ends of several small tubes at varying speeds, altering the pattern of sounds emanating from the work and vibrating the LED, which pulses with the same frequencies controlling the motor.

still images here

rounded binary (with lili maya)

Wednesday, October 31st, 2012

rounded binary was shown at our solo show at die Botschaft, and is a kinetic sound work that has two states: spinning and stationary. when spinning, the tape on the motor creates the illusion of a circle – but changes in speed and direction of the motor produce varying tones and a shadow reveals the tape attached to the shaft to be irregularly shaped. when the motor stops spinning the jagged shape of the tape and lack of sound/motion create the illusion of a static sculptural object.

still images here

inversi (with lili maya)

Wednesday, October 31st, 2012

inversi was shown at our solo show at die Botschaft, and is made of an algorithmically generated, 3-d printed object, micro-controllers,LEDs, and a pellegrino bottle. the code varies the frequency and occasionally blinks each LED. the effect of the simultaneous differing frequencies is that the piece appears to shimmer at different speeds across its surfaces, creating optical interference patters. the piece was situated on a marble mantel in the gallery and is a meditation on scale, mass production and the projection of code across three dimensions.

still images here.

rapport (with lili maya)

Wednesday, October 31st, 2012

the video above has detail shots from rapport, shown at our solo show at die Botschaft.

rapport is composed of two similar objects that can be seen as both unified and distinct. each has its own LED array and micro-controller – the code for each is identical and contains randomized elements. the LEDs in each are identical but the materials around them are different, evoking unique qualities of light. the common code causes the two objects to sync and then individuate slowly and randomly. the furniture, found on site, is both support and external, integrated and formal. each element contributes to a rhythm of cohesion and individuation.

still images here.

images from die Botschaft show on flickr

Tuesday, October 16th, 2012

we just posted images from our show at die Botschaft, take a look!

new works:
rounded binary

video will follow shortly.


Tuesday, January 10th, 2012

this is a collaborative project with lili maya, our website is here.

composed of paper, wood, and electronics, ritornello exists as documentation of an ephemeral situation.

the work is programmed and the program alternates between repeated and varying elements. the code controls a fragile assemblage of various materials, and as it loops the assemblage decays.

while the work has no subject, its contents include the illusion of time’s control and the humility and wonder of making things in an atmosphere of change.

diaphanes, nos. 1-8

Sunday, September 18th, 2011

diaphane, detail

this is a collaborative project with lili maya, our website is here.

the 8 diaphanes are individual assemblage/drawings of casting paper embedded with electronics, each measuring approximately 9″x11″. featured in our august, 2011 solo exhibit, of light like intervals, each diaphane was made specifically for installation in the porch windows of the virginia weston besse gallery on martha’s vineyard.

inspired by the slowly changing, ambient natural light of the westward facing space, the architecturally transitional nature of the porch, and the color and textures of its wooden interior, we developed this project with the combining of indirect sunlight and electric light (LEDs), and the qualities of transition, in mind.

the electronics consist of a small micro-controller, modulating a single, tiny LED.

each micro-controller is programmed individually to persistently and slowly change the brightness of its LED in a process analogous the gentle shifts in ambient light of the space as sunlight is filtered through the lush foliage of a garden in front of it.

looking at a diaphane, one is aware of change occurring on its surface, resulting in different views of the work’s subtle and complex topography, but the specifics of what in fact has changed are not always clear. the paper composition of each diaphane varies in thickness, from the opaque to the see-through, permitting views of the outside to be integrated into each work.

we began making site visits to prepare for our show in early may, prior to the bloom of spring, and were captivated by the island’s natural light, and the intricate, twisting branches, and horizontality of its trees and brush. in subsequent visits we noted the forms created by the lines of branches interlaced with increasing foliage. while we never intended to portray these forms in our work the affinity between the island’s landscape and our compositions and mark marking is clear, and in the context of these works in this location, formative.

to see the entire flickr set, please go here.

for additional projects and videos, please visit our site: