I performed on electronics and sound designed for Chris Williams and Laura Sofia Perez’s "I Ain’t Got No Spare.” Inspired by the Charles Burnett film Killer of Sheep, this ongoing multimedia performance explores themes of the Black experience in 1970s Los Angeles, and the ephemerality of Black agency.
I was a sound mixer and editor for Peter Flaherty’s “The Dial,” an AR/VR narrative experience that premiered to critical acclaim at the 2019 Sundance Festival.
I live-scored “Amber Inheritance,” a talk by Radiolab Producer Simon Adler, at Caveat.nyc in July 2018.
In July 2018, I was selected as one of 12 Artists-In-Residence at the inaugural Performer-Composer residency at the Westben Centre for Connection and Creativity in Ontario, Canada.
In July 2018, I performed on electronics for the premiere of Ben Finley’s chamber/improvisation piece “Scale Invariance” at Spectrum NYC.
“Variant Depths” is an installation by Olga Lah comprised of 40,000 specimen jar lids. At Olga’s invitation, I composed a piece of generative electronic music (Variant Depths: Slip Sound) to accompany her work at its opening reception in July 2018 at Peter Strauss Ranch.
A theatrical experience based on Henrik Ibsen’s play of the same title, GHOSTS explores multiple shades of morality in the 19th century. I composed music, performed live on analog synthesizer, laptop, and electronics, and was sound designer for Jonghee Woo’s updated and up-twisted 90-minute version. Premiered during a 5 night run at the 2018 Hollywood Fringe Festival.
The brainchild of evil-geniuses Justin Scheid and Ed Park, I played pieces by Justin, Ed, and myself at the Orange County Center for Contemporary Art in May 2018. Mind-bending, retina-burning projections c/o Brian Akenoh!
I live-scored "The Future Of Fake News," a talk by Radiolab producer Simon Adler on vocal synthesis and facial reenactment software. Debuted at the Emerge Impact + Music Festival's "Future of Truth" showcase on the Las Vegas Strip.
A sound installation consisting of bird-like entities that listen to and respond to each other’s “calls,” I served a technical director for artist/designer Claire le Nobel’s Acoustic Connectivity in a Synthetic Ecology. I networked and programmed several Raspberry Pi-driven sculptures that actively identify rhythmic and timbral patterns (using the awesome TimbreID externals in Pure Data) to formulate responses that are output to solenoids that percussively strike wood, metal, and glass resonators. Work installed at ArtCenter College of Design in 2018.
I built and programmed a 360-degree rotating control panel for artist Faith Purvey’s The Shipwreck at Side Street Projects in 2018. The control panel has 6 cool-blue light up arcade buttons that viewers can use to trigger audio of ship’s horns, sea shanties, crashing waves, and even a full rendition of Celine Dion’s “My Heart Will Go On” (a la Titanic).
At the release of Kat and Ben’s epic LP “Cycles on Cycles,” I mixed and programmed a one-time-only quadraphonic piece that played back out of small speakers held and manipulated by four dancers. I also added some grit by performing live on “Pavement.” ArtShare LA, February 2018.
I worked on motorizing artist/puppeteer Champoy Lim's Puppet With No Master. I rigged up a few servo motors, an Arduino, motor driver, and battery to animate the puppet. This project was a quick prototype for a larger piece of Champoy's involving multiple puppets in a gallery.
I performed and improvised on electronics and percussion in director Jonghee Woo's multimedia "Dreamscape" at Thymele Arts in Hollywood, CA in March 2018.
I played vibraphone on Erika Bell's "Sucking Stones" and showed a special installation-version of the Fork Organ at Walt Disney Concert Hall for the LA Phil's "Noon to Midnight" event.
Set in an abandoned 10,000 gallon pool at Peter Strauss Ranch in the Santa Monica Mountains, I composed and performed a live electroacoustic score for an evening length dance performance. Created in collaboration Heidi Duckler Dance Theater and artist/muralist Kim West.
Composed by CalArts DMA Sean Hayward, I played vibes for "Other People," a re-imagining of Jean Paul Sarte's one-act play, "No Exit." We define ourselves through the perceptions of those who surround us. How does the gaze of another continue to shape our identity... even after everyone else is gone?
I did music and sound design for Adele Han Li's "Chella Drive," which received several international festival showings in 2016-2017, including Slamdance, Cutout Fest, The Mammoth Lakes Film Festival, Florida Film Festival, and The Los Angeles Asian Pacific Film Festival.
I programmed a massive Pure Data Patch and designed/installed the 8 channel system at Long Beach City College's Art Gallery. Viewers can interact with 8 live streams of news radio broadcasts from around the world via an iPad, affecting audio panning and playback direction while manipulating text from news headlines.
A surrealistic performance inspired by the book “Fat Girl by Judith Moore. I created music and sound design mostly centered around the sound of cooking, eating, and drinking. I mixed the show from the stage, live-looped the noises of myself eating food, slurping soda, and making a cheeseburger, all while wearing a costume and a wig. Premiered at the 2017 CalArts New Works Festival.
I did music/sound design/mixing for "Entropy," which was entered in NASA's 2016 Cinespace competition.
In collaboration with producer/media artist Trey Gilmore, I curated and directed the installation of works in the CalArts MOD Lobby for the 2016 Digital Arts Expo.
I created, recorded, and edited lots of guts squishing, karate chops, blood spatters, and screams for "Hell Train," a short about an afterlife of a badass high school girl trapped on a train.
A one act theater piece exploring a sense of loss, time, loneliness, and contemplation about life and death. I performed and improvised on piano, vibraphone, and electronics for a run at the 2016 CalArts New Works Festival under director Jonghee Woo.
I composed a short electronic piece for Carissa Sahar's "Ours Is Malice."
I performed in Sara Roberts’ Reader’s Chorus, for a show of 12 original works at Automata in 2016.
I was hired by Carmina Escobar and Scott Cazan, (two of my mentors and favorite artists!) to design and fabricate 6 custom speakers for a performance and installation of theirs at the LA River. I made digital prototypes of the speakers, sourced all the materials, and did some good, old-fashioned woodworking in the 100-degree Los Angeles heat. The speakers vary in size--each one included a 10 inch woofer, a tweeter, a crossover, and a detachable speaker stand.
I wrote music, did sound design, and was musical director for choreographer Leslie Scott’s “Most Famous Mixtape,” a nostalgic 80’s throwback to when the cassette tape was king. Performed in the CalArts Sharon Disney Lund Dance Theater, Spring 2016.
I performed on percussion/objects on the U.S. premiere of Michael Pisaro’s seminal “Living With The Death of Time” at CalArts in 2016.
I performed on vibraphone and percussion in Ed Park's dance score "Life Giver."