Work samples

  • X_X_I
    X_X_I

    performance, 16:06, 2023

  • Circles in Absolute Night
    Circles in Absolute Night

    still from live performance, 16:21, 2025

  • Material Actions
    Material Actions

    performance, 30:00, 2016

  • Occupational Enterprises
    Occupational Enterprises

    performance, 30:00, 2016

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About Carrie

Baltimore City  

Carrie Fucile is a sound artist whose work straddles the line between performance art and experimental music. Her body of work embraces  solo and collaborative endeavors.  She investigates how memories embodied in objects, architecture, and landscapes have sustained cultural resonance. The creative efforts that result interpret the effects of political power, technological shifts, and global economics on the human condition. Ultimately her work seeks to expose how traces of the past continue… more

View Carrie's Resume
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Circles in Absolute Night

The story of descending into a cave with spoken word, live sound, and projected video. Why do we put faith in false promises and what is it like to be a rock? We will shed light on these questions.

A live performance created in collaboration with Alicia Puglionesi.

  • Circles in Absolute Night
    Circles in Absolute Night

    still from video component of live performance, 2025

  • Circles in Absolute Night

    single channel video derived from live performance, 16:21, 2005

  • Circles in Absolute Night

    documentation of live performance at Rhizome, DC, 16:21, 2025

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    • The Comments

    The Comments is the third installment in Carrie Fucile and Brenton Lim's Technology Trilogy. The core of this piece weaves selected YouTube comments with First Sound’s 2008 engineered playbacks of Édouard-Léon Scott de Martinville’s 1859 phonautogram of a diapason at 435 Hz. Fucile’s audio also integrates tuning forks, live improvised vocals, keyboard, and pre-recorded files of her own voice imitating the communication of insects. Lim’s live video is derived from his original block coding designed for the piece.

    • The Comments
      The Comments

      performance, 15:00, 2024

    • The Comments

      performance, 15:00, 2024

    •

    • X_X_I

    X_X_I is an audiovisual manifestation of Carrie Fucile and Brenton Lim's intersecting ideas about technological upheavals from the twentieth century to the present. Fucile’s audio component consists of live vocals, melodica, MIDI keyboard, field recordings of hidden home and business technologies, and digitally generated sound. Lim’s live video is derived from his original block coding designed for the piece. This performance documented here was presented at The Center For The Arts, Towson University, Towson, MD.

    • X_X_I
      X_X_I

      performance, 16:06, 2023

    • X_X_I

      performance, 16:06, 2023

    •

    • Dada Morte

    Dada Morte uses musical interpretations of an IBM computer punch card found among Fucile’s late father’s possessions. It also features melodica, voice, and electronics. This performance was part of the exhibition Memento Mori at The Parlor in Baltimore, MD and included live video projections by artist Brenton Lim.

    • Dada Morte
      Dada Morte

      performance, 16:52, 2022

    • Dada Morte

      performance, 16:52, 2022

    •

    • Fenster

    Fenster uses field recordings of Fucile’s cat, Bocce, purring. It also features snare drum (played with a palm from a Palm Sunday with her aunt and mother in 2019), melodica, and voice. This performance was commissioned by The Red Room Collective for The Red Room in Your Room, in April 2021.

    • Fenster
      Fenster

      performance, 15:41, 2021

    • Fenster

      performance, 15:41, 2021

    •

    • Reconciliation

    Reconciliation is a performance of longing, grief, reckoning, and hope. It considers where human civilization presently finds itself and whether it can truly change. This ritual looks to the past and prays for the future. It grapples with both personal and collective history while gently attempting to exorcise.

    This performance was created in response to Melissa Webb’s installation Proficiencies for Living in Ruins.

    • Reconciliation
      Reconciliation

      performance, 20:00, 2018

    • Reconciliation
    •

    • Birds, Bees

    Birds, Bees is a performance that utilizes with amplified objects and live sound pulled from multiple audio technologies. Rooted in the noises and materials of Fucile's grandmother's beloved Lowcountry South Carolina, it is a reflection on a place and the passing of time.

     

    • Birds, Bees
      Birds, Bees
      performance,12:30, 2018
    • Birds, Bees
      performance,12:30, 2018
    •

    • Occupational Enterprises

    Occupational Enterprises is a performance where Fucile rearranges 200 white bricks into a series of structures for sixty minutes. Each one is toppled before building another. The sound of the moving, stacked, and collapsed bricks is transmitted by a contact microphone attached to the floor and distorted by a series of effects.

    In addition to Fucile's Italian immigrant ancestry, the work was informed by several texts. The first, Hito Steyerl’s essay: “Is a Museum a Factory?,” observes that many places where employees worked on factory lines have recently been transformed into sites of artistic labor. Indeed, many cultural institutions and artist studios are in former industrial spaces. The second, Pietro DiDonato’s novel Christ in Concrete, tells the story of an Italian immigrant bricklayer who is killed on the job due to unsafe conditions and whose eldest son is forced to leave school to support his family.

    • Occupational Enterprises
      Occupational Enterprises
      performance, 01:00:00, 2017
    • Occupational Enterprises
      Occupational Enterprises
      performance, 01:00:00, 2017
    • Occupational Enterprises
      Occupational Enterprises
      performance, 01:00:00, 2017
    • Occupational Enterprises
      performance, 01:00:00, 2017
    •

    • Material Actions

    Material Actions is a performance created with video artist Mark Brown. The 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 Fucile used 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. The work  work considers the economics of the Dutch Golden Age and the modern museum.

    • Material Actions at the Walters Art Museum
      Material Actions at the Walters Art Museum
      performance, 30:00, 2016
    • Material Actions at the Walters Art Museum
      Material Actions at the Walters Art Museum
      performance, 30:00, 2016
    • Material Actions at the Walters Art Museum
      performance, 30:00, 2016
    • Material Actions at School 33
      Material Actions at School 33
      performance, 20:00, 2016
    • Material Actions at School 33
      Material Actions at School 33
      performance, 20:00, 2016
    • Material Actions at School 33
      performance, 20:00, 2016
    •

    • Sync

    Sync is a 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
      performance, 30:00, 2014
    • Sync
      Sync
      performance, 30:00, 2014
    • Sync
      Sync
      performance, 30:00, 2014
    • Sync, official recording
      released on Ehse Records
    •