Ishavskatedralen | Tromsø, Norway
collaboration with Geir Davidson, microtonal euphonium
sponsored by NY Musik
collaboration with Geir Davidson, microtonal euphonium
sponsored by NY Musik
collaboration with cellist, Lene Grenager
sponsored by NY Musik
Homemade Instruments Day
curated by Brenda Hutchinson
collaboration with Monique Buzzarté and Sean Meehan
Performance of songs from “Ort” with Konrad Sprenger
“Stratified Bands: Last Kind Words”
performance with the Kronos Quartet
photo: John Fago
“Tangible Limits/Intangible Extension”
performed with Jessica Lurie and Matthew Sperry for the Frau Musica Nova Festival
produced by Gisela Gronemeyer
“Tangible Limits/Intangible Extension”
performed with Jessica Lurie and Matthew Sperry
“TexasTravelTexture” by Ellen Fullman
“Epigraphs in the Time of AIDS” by Pauline Oliveros
“Change of Direction” for Pat Graney’s Movement Meditation Project
performed with Elise Gould and Nigel Jacobs
“Change of Direction”, performed with Nigel Jacobs and Elise Gould
“Dusk to Dawn” curated by John Killacky
“TexasTravelTexture” by Ellen Fullman
“Epigraphs in the Time of AIDS” by Pauline Oliveros
photo: Todd V. Wolfson
“Work for 2”
performed with Daniele Massie
forthcoming release on Superior Viaduct 2 LP, “In the Sea”
installation and performance residency, shown: Water Drip Drum
photo: Pieter Boersma
“Brushing out the Tracks”
duet performed with Arnold Dreyblatt
photo: Pieter Boersma
duet with David Weinstein
photo: Sarah Drury
photo: Lona Foote
In my last semester of art school I built and performed in my Metal Skirt Sound Sculpture,
a landmark piece in my career because it worked on many levels. It was funny and provocative,
and produced simultaneous rising and falling glissandos simply through the mechanics of
walking. Four guitar strings were attached to the edges of the skirt that extended down to the
toes and heels of my shoes. As each leg stepped forward, the back string stretched out while the
front slackened. A contact microphone on the skirt amplified the sound of these strings through
a small battery-powered amplifier that I wore strapped over my shoulder as a handbag. The
restriction of the metal construction mechanized and exaggerated the sway of my hip motion. I
looked like a cartoon cutout wearing armor. I walked on the street where the prostitutes worked
and called my performance, literally, Streetwalker.