Klingln
Sound Installation and Audio/Video (2004)

Klingeln was originally an interactive sound installation, inspired by the nostalgias of our cultures and memories associated with the sound of bells. Klingeln also has become an environment for dance. Dancers became interested in moving in such a space defined by the hanging bells. All music for the dance video was created from the sound of the hand-made porcelain bells, to accompany the dancers' movement, with the original footages shot in silence.

Exhibited at LaVerne Krause Gallery, OR (2004)

Babier is based around a performance situation, which I devised, where elastic tendrils connect myself to a flex sensor. The sensor, called a Shnth, is developed at a new, digital venture, shbobo.net, where my husband and a Baltimore-based artist/inventor Peter Blasser is focusing on the "semiotics of squish". The DSP was realized in Max/MSP Jitter, and it is intended to portray a series of states of my mind during pregnancy. The symbolism in the Jitter animations is of bodies within bodies. When the outer bodies resonate, so do the inner bodies. This was achieved by modeling the resonances of a state variable filter, on the sub-haptic level, to make maximum response out of those energies released in my dancing. Through the elastic tendrils, each of four limbs (hand foot foot hand) is thus processed and manifested as dialectically tonal/atonal sounds, and also, via Jitter, as four globular and jiggling orbs that each contain a perfect smaller-self within.

Selected Sound Works for Choreographers:
Jose Navarrette & Debby Kajiyama (NK Dance Theater)
Kimiko Gruthie (Dandelion Dance Theater)
Kristin Heavy (Element Dance Theater)
Nadia Oka
Mary Bell

Dance and music Improvisation mutually evoke the emotions, sensitivities, gravities, motifs, shapes, dynamics, and decisions in the creative act of spontaneous composition and movement.

I recently came to a realization that Japanese calligraphy informs my dance movements. The motion, weight, flow, and angles of a brush controlled by hand and muscles, are embedded in my sense and body. The color gradations of ink expands dimensions, and where and how I choose to place writings defines the space. I feel natural on stage expressing all the above in dance, prompted by sound.

I am excited to find out more about how the body translates memories. My path is to further investigate these possibilities through my physicality.

Through sounds, symbols, and choreographed bodily movements, “Mirrored Memories” depicts a story that deals with one's unknown emotional territory. It is a channeling process of reaching out to her deeper-self. Experimented by Baltimore-based artists Jenny Graf and Ayako Kataoka, “Mirrored Memories” reveals what it is to be a female body encasing untouched visceral energies, and how they may be translated into a gestural agency once unleashed.

Performance Art, Duration 25:00
Music, interactive technology, stage design, choreography and text: Jenny Graf & Ayako Kataoka

Babier [Chaos Modulation Version] @ High Zero Festival 2010
Improvisational/Interactive Performance for Dance + Six Musicians

Ayako Kataoka: Movement, MaxMSP Jitter
Peter B : Electronics, Invention
Drew Daniel: Electronics, Objects
Shayna Dunkelman: Percussion
Ju Suk Reet Meate: Trumpet, Electronics
Liz Meredith: Viola
Wobbly: Electronics/Console

Commissioned by High Zero Foundation
Saturday Matinee Special Project
High Zero Festival, 2010

This piece is entitled after the novel "Bonjour tristesse" written by the French writer Francoise Sagan in 1954. It was my attempt to respond to an existing novel in the form of video. The poem used for the audio component of this piece is "La vie immediate" by P. Eluard, of which Sagan's inspiration for the title of the novel originated.

This piece has been exhibited at;
Reinventing Art History Exhibition, Center Space Gallery, PDX, 2007
Womantis New and Improved Festival, 21 Grand, Oakland, CA, 2007
Electrogals Festival, Disjecta, PDX, 2011

Two Passageways, a site-specific mixed media installation exhibited at the Mills College Signal Flow Festival in 2007.

An antique bathtub is placed on a landscape of salt in the portico passageway. A gown trimmed with lace and quarter-inch audiotape covered a hand-built ceramic torso the size of the artist. This torso occupied a space close to the tub, and was also placed on the landscape of salt. Scrolling text of a poem was projected onto the water contained in the tub. Sound recordings of bathing emerged from below the tub, causing it to resonate. The processed sound of bathing emanated from both ends of the passageway diffused, defining the entire space.

During the time that the piece was conceived, the conflict between the US and the Middle East was a significant feature of the geopolitical landscape. Through this installation, I wanted to portray a meditative state of mind hoping for a better, peaceful world.

This project was inspired by my exploration to capture sound in solid form. After experimentation with running sound waves through ceramics slip, jelly, milk, plasters and water to visualize sound and forms, I achieved of a method to realize the project by using a rapid prototype machine. A girl said was made from FFT (Fast Fourier transform) analysis data of a girl saying ‘I love you’. The data was analyzed, rendered, and modeled to be materialized into a 3D object via a rapid prototype machine.

A Girl Said has been exhibited at;
California College of Art Interface Show, Oakland, CA, 2008
High Zero Sound Art Exhibition, Baltimore, 2009
Stamp Gallery The Unfolded Crystal: Seduction of the Hyperreal, College Park, 2009
Spaces & Places real and imagined, Case[werks] Gallery, Baltimore, 2013