These projects refuse linearity. They don’t begin and end so much as surface, recede, and resurface—taking form through slow, recursive acts of making and thinking.
Most recently, sadie (s)pins has evolved into a live electronic performance series exploring trans embodiment and signal manipulation.
Early versions of masc4masc’s dawson’sCreamo included an exploration of queerness, nostalgia, and memory as discovered through minimalism and texture. The rig evolved through a motley combination of drum machines and samplers to a coded signal path constructed in Pure Data.
Opening to dawson’sCreamo video
dawson’sCreamo evolved into a transdisciplinary art piece which involved film, sound, performance, and sculpture. The film portion combined footage plundered from the series pilot with original shot footage, presented as a silent, subtitled film in order to adjust the dialogue and perform a live score, including stories from the performer’s own queer childhoods. On the left is a one minute sample from the beginning of the 35 minute film.
v0dKaGuMmYbEaRl0LlIp0P!.! rave at Bread and Salt 2016
v0dKaGuMmYbEaRl0LlIp0P!.! hosted a series of queer raves between 2014 and 2016. The style blended eurodance, millenial pop, and contemporary hyper-pop. I DJed the events.
We also released a number of original songs which were used as a part of the sets.
My 2011 portfolio earned me the Maurice Dubin Memorial Prize in Composition. Each piece pursued minimalism as a means of deep listening—foregrounding texture, resonance, and the subtle transformations of electronically shaped sound
Big Sound was designed for a listener positioned at the center of six speakers, using panning to explore spatial perception in music. The version presented here is a stereo mix.
8PM evolved from an early interest in the intersections of electronic music and the avant-garde, using sound as a way to think through narrative.
Maya explores subtle rhythmic disruptions against a firm base