Block title

Work Samples

Flight 1

Flight 1: feathers, desk fan, guitar pickup, amplifier, approximately 20" x 36" x 12", 2015

Flight 2

Flight 2: 10 fans, 10 guitar pickups, 10 amplifiers, dimensions variable, 2015

Tremor

Tremor: feather, fan, contact microphone, clamp, table, and amplifier, dimensions variable, 2016

Shaker

Shaker: rocks, bass shaker, amplifier, mp3 player, approximately 36" x 36" x 7", 2016

Material Actions

Material Actions is an audiovisual performance created with video artist Mark Brown. This piece was originally developed for the Dutch Cabinet at the Walters Art Museum in Baltimore, Maryland and premiered as part of their 2016 ART/SOUND/NOW series. It has subsequently been performed at School 33 Art Center in Baltimore, MD.

In this performance I use a series of contact microphones to "play" common, modern materials such as bricks, coins, and a fan. Brown projects a sound-reactive video behind me.

This work considers the economics of the Dutch Golden Age. Each object I use is deliberate. The fan implies overseas trade, the feather symbolizes colonialism, the coins and bills denote the accumulation of capital, and the bricks allude to metropolitan expansion. Continuing the theme of global commerce, Brown synthesizes video imagery of waves and storms that he frames within the scalloped edge of a Dutch porcelain plate.

The works in the Dutch Cabinet we specifically responded to were Vanitas by Adam Bernaert, Breakfast Piece by the Circle of Pieter Claesz, Dutch Ships in High Seas off the Dutch Coast by Ludolf Backhuysen I, and the porcelain vessels from both China and the Netherlands. Imagery from all of these pieces was incorporated into the performance.

Shaker

Shaker is a pile of rocks that vibrates perpetually. Hidden underneath the rocks is a bass shaker which is fed a stream of sound from an MP3 player. The track played is a field recording of birds in a forest in Hungary. The viewer hears nothing, but instead feels the floor shaking as they walk near the piece.

This work is a mediation on the roots of large changes in societies. The origins of these dramatic shifts often gestate unseen for some time. This piece is a display of their potential energy. If you pay attention, you can sense the changes coming.

  • Shaker

    rocks, bass shaker, amplifier, mp3 player, approximately 36" x 36" x 7", 2016
  • Shaker

    Shaker: rocks, bass shaker, amplifier, mp3 player, approximately 36" x 36" x 7", 2016
  • Shaker

    rocks, bass shaker, amplifier, mp3 player, approximately 36" x 36" x 7", 2016
  • Shaker: detail

    rocks, bass shaker, amplifier, mp3 player, approximately 36" x 36" x 7", 2016

Tremor

Tremor employs a feather, a fan, and a contact microphone. When the fan is switched on, it blows and causes the feather to flutter. The feather is pressed against a contact microphone, which registers any vibration. The microphone is plugged into an amplifier in the corner, and emits the sound of the shaking feather. It is reminiscent of the flapping of wings. In this work the viewer sees and hears how a seemingly fragile thing can create a large change in the environment.

  • Tremor

    feather, fan, contact microphone, clamp, table, and amplifier, dimensions variable, 2016
  • Tremor

    Tremor: feather, fan, contact microphone, clamp, table, and amplifier, dimensions variable, 2016
  • Tremor

    Tremor: feather, fan, contact microphone, clamp, table, and amplifier, dimensions variable, 2016
  • Tremor

    feather, fan, contact microphone, clamp, table, and amplifier, dimensions variable, 2016

Flight 1

Flight 1 compares how both humans and birds will relocate in search of shelter. A guitar pickup is clipped onto a fan and plugged into an amplifier. The pickup contains a disc that is sensitive to pressure, so the sound we hear is the fan’s vibrarion. The air and the sound travel through space, alluding to flight paths. The feathers that protrude from the fan further illustrate this metaphor.

  • Flight 1

    video documentation, feathers, desk fan, guitar pickup, amplifier, approximately 20" x 36" x 12", 2015
  • Flight 1

    Flight 1: feathers, desk fan, guitar pickup, amplifier, approximately 20" x 36" x 12", 2015
  • Flight 1

    feathers, desk fan, guitar pickup, amplifier, approximately 20" x 36" x 12", 2015
  • Flight 1

    feathers, desk fan, guitar pickup, amplifier, approximately 20" x 36" x 12", 2015
  • Flight 1

    feathers, desk fan, guitar pickup, amplifier, approximately 20" x 36" x 12", 2015
  • Flight 1

    feathers, desk fan, guitar pickup, amplifier, approximately 20" x 36" x 12", 2015

Flight 2

Flight 2 grew out of Flight 1. This installation expands the number of fans, pickups, and amplifiers to increase the volume and texture of the audio. Themes from Flight 1 are referenced, but in this setting, the air and sound have a much more menacing intensity that suggests large methods of transport or war.

  • Flight 2

    video docuentation, 10 fans, 10 guitar pickups, 10 amplifiers, dimensions variable, 2015
  • Flight 2

    Flight 2: 10 fans, 10 guitar pickups, 10 amplifiers, dimensions variable, 2015
  • Flight 2

    10 fans, 10 guitar pickups, 10 amplifiers, dimensions variable, 2015
  • Flight 2

    10 fans, 10 guitar pickups, 10 amplifiers, dimensions variable, 2015

Evaporation

Evaporation addresses the loss of vulnerable populations and how changes in power can lead to the alteration of territorial boundaries.

Five terracotta fragments, found in Hungary, are set on top of a glass slab. The use of terracotta is deliberate, as it is commonly used to make bricks and shingles for homes. Water is poured into a small pool that surrounds the fragments. A fan blows at the level of the water. By virtue of a small light placed under the glass, an image of the moving water is projected onto the ceiling. A contact microphone taped to the fan is plugged into an amplifier which pulses in time with the moving water. Over the course of an exhibition, water is repeatedly poured onto the glass, resulting in an accumulation of overlapping mineral rings.

  • Evaporation

    glass, terracotta fragments, water, sawhorses, fan, light stand, contact microphone, amplifier, flashlight, dimensions variable, 2015
  • Evaporation

    glass, terracotta fragments, water, sawhorses, fan, light stand, contact microphone, amplifier, flashlight, dimensions variable, 2015
  • Evaporation

    glass, terracotta fragments, water, sawhorses, fan, light stand, contact microphone, amplifier, flashlight, dimensions variable, 2015
  • Evaporation

    video documentation of ceiling and sound, glass, terracotta fragments, water, sawhorses, fan, light stand, contact microphone, amplifier, flashlight, dimensions variable, 2015

Sync

Sync is an interactive sound performance created with programmer Dan Zink. Performer Autumn Breaud's heartbeats are transmitted and manipulated live in quadraphonic sound via iPad. Audience members are invited to lie around Breaud as a wave of throbbing, meditative sound washes over them.

A recording of the work is available on Ehse Records.

  • Sync

    5:16 excerpt from a 30:00 interactive sound performance, The Red Room, Baltimore, MD, 2014
  • Sync

    recording, 9:19, 2015
  • Sync

    interactive sound performance, The Red Room, Baltimore, MD, 2014
  • Sync

    interactive sound performance, The Red Room, Baltimore, MD, 2014
  • Sync

    interactive sound performance, The Red Room, Baltimore, MD, 2014
  • Sync

    Sync: interactive sound performance, The Red Room, Baltimore, MD, 2014

Verbatim

To create Verbatim, I recorded myself speaking a series of ten verbs. I then took a screen shot of each as it appeared in my audio editor and imported it in to Adobe Illustrator. I vectorized the imported files and used Illustrator's tools to edit the vectorized screen shots into new images while still retaining some trace of the originals. The resulting works were printed as archival inkjet prints.

I then exported the final Illustrator images to various file formats, imported the raw image data into my audio editor, and created new sound files from these audio interpretations of visual data.

The results are sounds based in language that have been completely removed from their origin.

There are ten images and ten audio files. Five of each are shown here.

  • Depart

    archival inkjet print, 20" x 20", 2013
  • Depart

    sound, 2:29, 2013
  • Subject

    archival inkjet print, 20" x 20", 2013
  • Subject

    sound, 2:04, 2013
  • Riddle

    archival inkjet print, 20" x 20", 2013
  • Riddle

    sound, 2:01, 2013
  • Desire 3

    archival inkjet print, 20" x 20", 2013
  • Desire 3

    sound, 3:01, 2013
  • Complete

    archival inkjet print, 20" x 20", 2013
  • Complete

    sound, 3:52, 2013

Subtext

Subtext is an immersive installation which simulates the feeling of being underwater. Viewers experience this environment while listening to a series of sound works specifically made for it.

To create these sounds, I recorded several individuals singing a popular song of their choice. The new works I devised only use portions of the recordings where words were not articulated. These leftover sounds consists of various inhalations and utterances.

Subtext explores what the hidden sounds of a vocal recording might tell us about the unexpressed desires that constitute part of our attraction to popular music.

A recording of the work is available on Protagonist Music.

How To Melt My Heart

How To Melt My Heart is a multimedia installation that involves a series of life-sized cast ice sculptures of the human heart. For each day of a two-week gallery show a heart was hung on a chain. As the heart melted onto the paper below to create a drawing, the sound of its dripping was amplified by a contact microphone placed below the paper.

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About Carrie

Baltimore City

Carrie Fucile is an intermedia artist focused on sound, installation, and performance. She has exhibited and performed at numerous venues in the United States and abroad including The Walters Art Museum, The Red Room, the (e)merge Art Fair, Vox Populi, VMK – Gönczi Gallery, and Casa... more

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