I work with recorded material as physical objects, seeking new models of authorship. This process includes exploring personal, commercial, and historical claims of radio ephemera, LPís, and archived audio. I reclaim this sonic material in terms of form (transmissions, QSLís, and vinyl) and content (broadcast, music). Addressing this lineage reveals relationships among concepts of memory, ownership, and materiality.
My process deconstructs music, its iconography, and its listening tradition. My Record Negatives are rubber casts of original vinyl. Through inverting their originalsí spiral inscriptions, their grooves produce familiar, yet ambiguous, musical remnants among pops and scratches. Removing them from their sleeves and placing them on the turntable mimics the ritual of playing a favorite tune while lounging in a family rec room. Yet playing them is an active experience. Lifting and repositioning the stylus reveals new sounds upon each play. The absence of a record label leaves it up to the listener to imagine the objectís origins or discover a new auditory experience.
Through installation, drawing, video, and sound, I salvage and appropriate analogue material to create newer media forms. This technological shift offers new rules and conditions for the object. Recordings of high frequency radio become a database of digital audio clips; these are layered in real-time, revealing an ongoing multi-channel composition. Animated drawings correspond algorithmically to the sounds, generating an organic landscape of waves, bolts, and bursts. Forgotten records, disregarded sound in between radio channels, and drawing are sources for reinterpreting sonic information.