Strong, Weak and Strange (2015)

15:00 single projection on split wall; macro video, field recording, cello

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A video split between two walls about tiny materials and using sound to bridge life at different scales. Part of OUTRO: Go Play Outside! at ACRE Projects.

From curator Ross Jordan: Her approach is the same as the childhood scientist that live(d/s) in all of us, who combed the house and front yard for interesting subjects. Katherine transforms bursting and bubbling experiments with water, oil, milk, hair, soil, Tums ®, grass, and sand into dramatic audio/visual projects that envelope spaces.
 

I was thinking everything was fine (2015)

8:15; video, field recording

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Two night walks joined into one: simultaneously on a boat in the middle of the Baltic Sea and on a road in the rural midwest United States.

We’re Not Gonna Make It (2014)

sound: cello, field recordings; installation: lamp and conduit

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A series of little doomsday scenarios created for an exhibition at Usable Space in Milwaukee called Prepped. About the futility of prepping for the worst when we’re hanging by a thread of a fingernail in the cosmic scheme.

At three moments during the opening of the exhibition, the lights turned off unannounced and an installed orange lamp came on, accompanied by one of the three recorded compositions.

The three audio pieces were also featured in the 2015 PNEM Sound Art Festival in Uden, Netherlands as part of the festival’s WoodWalk Experience.

 

cello-bridge-square

Hurt Someone (2012)

cello, field recordings from Jaipur

venice-4am

Reckoning (2012)

cello, field recordings on Lake Michigan

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Created as a response to Maurice Ravel’s impressionistic Le Gibet (“The Gallows”), part of Le Gaspard de la Nuit (Keepers of the Night).

 

The field recordings come from a night in the lagoon in Saugatuck, Michigan.

 

Pablo Lorenzana’s Emergence (2012)

soundtrack: cello, field recordings

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For Pablo Lorenzana’s Emergence, I wanted to create a seamless connection between the score and the environment–as if the environment pictured is actually constructed by music or musical sounds–to fully immerse the audience in the world created by Lorenzana’s drawings.

The cello recordings function both as score and sound effects/environmental sound to support not just the action on screen, but also to address the formal qualities and movement of the drawings themselves. Like the image, the sound is simultaneously dissonant and consonant, hopeless and hopeful.

Screened at Strange Beauty Film Festival in Durham, North Carolina in 2013.