Dewey Ambrosino, David Galbraith, Jacqueline Kiyomi Gordon, David Schafer
JANUARY 11 - FEBRUARY 8, 2014
Presented as Samuel Freeman Gallery on La Cienega Blvd, Los Angeles.
Dewey Ambrosino, David Galbraith, Jacqueline Kiyomi Gordon, David Schafer
January 11 - February 8, 2014
Samuel Freeman presents an installation of sound and sculpture by Dewey Ambrosino, David Galbraith, Jacqueline Kiyomi Gordon and David Schafer. Each of these artists uses aural cognizance to interpret spatial, linguistic and digital information, transforming physiological senses to produce sonic experience from non-acoustical data.
DEWEY AMBROSINO’s artistic practice examines the relationship between aesthetic phenomena and cultural conditioning through a wide variety of media. He received a BFA in Sculpture and a BFA in Industrial Design from University of Illinois, Chicago ‘91 and an MFA in Art from CalArts ’94 and is current faculty at Art Center College of Design.
JACQUELINE KIYOMI GORDON is a visual and sound artist who currently resides between Los Angeles and Oakland, CA. Her work integrates audio technologies into sculptural forms to question relationships of affect to an environment. She received her BFA from the San Francisco Art Institute (2004) and an MFA from Stanford University (2011) where her research focused on the history of communications technology and the physiological and psychophysical effects of music and sound on the body. For the past 6 years, Gordon has been a member of the music and performance collective, 0th, whose performances include venues such as The Berkeley Art Museum (2011), The San Francisco Electronic Music Festival (2011), and Southern Exposure (2010).
Responding to the gallery’s unique courtyard, Ambrosino and Gordon will create a site-specific sound sculpture that “plays” the resonant frequencies of the architecture. The sound work is activated through interaction with the multiple sliding doors that open up the interior to its central exterior.
DAVID GALBRAITH is an artist and composer based in Brooklyn, New York. Galbraith explores the couplings between art, music, technology and the body through his installations, compositions, sound works, and performances featuring live electronics and custom software. Galbraith completed a single-channel video work using the first version of his custom software for real-time sound and image in 2006. Since then this software has been his primary tool for creating installation, video, and sound works. Galbraith’s work has been presented internationally at P.S.1/MoMA, The New Museum of Contemporary Art, and KW Institute of Contemporary Art (Berlin), among others.
Galbraith will be presenting three video works with sound installation, each produced with Galbraith’s unique custom, real-time software. Density is a computer-based abstract animation with synchronized stereo sound based on the structure and content of a vintage mathematics reference text. The piece is a generative structuring of the sonic realm through constraints derived from the visual domain, reversing the traditional visual music mapping from musical pitch to color hue. Trio features abstract images visualized directly from the score of a composition for violin, viola, and violoncello by the first-generation minimalist, American-born, Paris-based composer Tom Johnson. Following the movement of the notes in the score to determine the direction of the shapes and the transparency of the image background, the Trio image track is at once directly-related to the sound and at the same time operates in its own realm as a strikingly-colored testament to the power of simple, content-driven generative rules. KenKen GS continues Galbraith’s exploration of a tightly-coupled yet non-linear and generative relationship between image and sound. The work’s compositional basis includes the structure and expanded numerical content of four KenKen puzzles, historical color scales that propose different mappings from musical pitch to color hue, and 15 resonant acoustic frequencies taken from various locations within Gridspace.
DAVID SCHAFER is a visual and sound artist working in sculpture, sound, sound performance, print, and works on paper. His work is concerned with the intelligibility and translation of language and space. Schafer performs under the moniker of DSE, a platform for the production of and dissemination of electronic noise, processed recordings, live signal manipulation, no-input feedback, and voice. This includes live improvisational and composed sound performances, collaborations, events, and sound transmission sculptures and installations. Recent solo exhibitions include; “Four Letters to Mahler”, Studio10 Bushwick NY, What Should an Astronaut Painter Do? Glendale College Art Gallery, Glendale, CA. Schafer has recently performed processed versions of Schoenberg’s “Verklarte Nacht” at Studio 10, Bushwick, NY; “Perriot Lunaire” at MATÉ Sound Festival at Invisible Dog, Organized by Richard Garet, Brooklyn, NY; and “Erwartung” at David Kordansky Gallery, Los Angeles, CA.
Four Letters to Mahler is a room scaled sculpture fabricated of aluminum struts that are host to an eight channel sound work. In this work, Schafer created a complex sonic work based on Schoenberg’s own language but existing more in a “Cagean” arena of voice that challenges the listener further with degrees of aural perception and intelligibility. The sound is generated from a directed, spoken word reading of the four letters in English with German accent and intonation. The tracks are processed electronically involving applications of delay and distortion that interrogate the language to its collapse. The continually shifting program generates an unstable spatial and aural experience as one navigates the sculpture.
DSENOISE is a signed edition of 50, boxed set including 12 CDs, double-sided poster, insert, sticker, and packaged in a die cut hand-assembled box. This was designed in collaboration with Shiffman&Kohnke in Los Angeles. This edition is the culmination of a one-year project in which Schafer released an edition of monthly CDs for 12 months. The 64 tracks add up to 10 hours of electronic noise Schafer created live in his studio in NY and LA, and at NY and LA public venues.
