The Re-Organized Organ Youth Mentorship Project
Held at VIVO Media Arts Centre, The Re-Organized Organ was a collaborative musical instrument building project that ran from September to December 2017. A group of ten youth convened weekly to investigate various e-waste materials as they created a collection of experimental instruments using parts from a discarded electronic organ and electronics from Free Geek Vancouver recycling bins. As the lead artist mentor for the group, I facilitated weekly sessions exploring the intersections between e-waste, music technology, and instrument design. The final presentation was held at VIVO on Dec 1, 2017, presented by Vancouver New Music. More Information about the project can be found here http://www.vivomediaarts.com/education/reorganized-organ/
Soundwalking Privately-Owned Public Space
A Soundwalk is a guided listening tour that encourages participants to actively listen, opening ears and consciousness to the complex orchestration that the environment is composing at all times. The walk was choreographed to weave through various privately-owned public spaces throughout Vancouver. These spaces complicate the neat binary between public and private, combining elements of private ownership, securitization, and rules and restrictions, with publicly accessible amenities such as shelter, seating, and open space. Using soundwalking as a way to access and assert the right to these common spaces, the soundwalk functioned to bring public attention to their spatial, social, and sonic dynamics. The walk was held on April 2, 2017 and was presented by Vancouver New Music and the Vancouver Soundwalk collective.
Hadden Park Field House Residency
In 2015 I began creating and facilitating community-art projects in Vancouver’s Hadden Park’s field house as part of a multi-year residency with art collective Publik Secrets. Located at 1015 Maple St, the field house is host to year-round workshops, performances, installation art, and community events.
Bicycle Arpeggio is a kinetic musical sculpture created from re-purposed bicycle components. The mechanism’s design mimics that of a cylindrical roll common in early musical automatons such as barrel organs and music boxes. Steel bicycle frame tubing, cut and tuned by length, are placed around the rotating cylinder and act as both the programmable score and the source of sound. The resulting percussive texture is primarily driven by chance operations generated from the phasing between each rotating score, producing an instant composition set in motion by the two riders.