Strong, Weak and Strange (2015)

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

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.

We’re Not Gonna Make It (2014)

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

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.


Venice 4am

Solace (without you) (2014)

cello, -Tomas Feijo

Made of cello tracks recorded for Tomas Feijo’s song Solace. Feijo’s part is removed and cello tracks are layered.


It Comes in Waves (2012)

cello, field recordings; album produced with the help of Sam Mewton (aka TOA)


Hurt Someone (2012)

cello, field recordings from Jaipur


Bed Rest

Tomas Feijo and Katherine Trimble

These two musicians, Katherine Trimble and Tomas Feijo, are not only skilled song stylists, they are adept composers, as comfortable on their respective strings as they are with digital software. Both are prolific solo artists, and their outputs are fueled by extremes of musical interest. Often within the span of a single composition, Trimble’s rich cello tones move from gestures evocative of myriad reference points, classical here, rural Americana there, to dense, layered, visceral, explorations of friction and timbre. Feijo oscillates between unwieldy, assertive, meandering, emotive tirades one is tempted to think of as ‘post-folk,’ and time-stretch sample-based deconstructions of popular music under the pseudonym, “The Reverend Dr. James Doctor.” Together, they seem to focus one another, highlighting their overlapping idiosyncrasies. What you get with Bed Rest is puzzle box songs, songs that yield more the deeper you listen.
– Steven Fletcher (AKA Frankenstein Earphone Radio)


Hurt Someone will be presented as part of Fundacją Smacznego!’s (Tasty Foundation’s) 2012 Urban Observatory Festival September 28-October 5 in Toruń, Poland. The festival is centered around sound works relating to urban life from non-traditional perspectives, and the works will be played at various locations throughout Toruń’s Old Town.

More information on the other artists in the festival and my work can be found here:


Belly of the Whale (2012)


Belly of the Whale came out of investigations in macro photography and how looking at this scale affects our relationship to objects and their material qualities. I became interested in the seemingly inherent narratives that tiny objects begin to disclose when we look closely at them–how minute surfaces become massive landscapes and solids reveal an abundance of voids–and the inexplicable empathy that develops when we observe them at their own scale.

Belly of the Whale explores this scale shift sonically–representing the uncanny feeling of the simultaneously tiny and huge situated in landscapes that are at once both vast and intimate. Close miking was a natural analog for the macro lens–both techniques strongly capturing the materiality of the objects and spaces they are recording; in one case microscopic architectural spaces in the physical world, in the other the tight acoustic spaces created by the mic’s proximity to the cello.

Screened at Strange Beauty: Aural Fixation in Durham, North Carolina in 2013.



Reckoning (2012)

cello, field recordings on Lake Michigan

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.


‎Relatively Untroubled (2013)

cello [score for Katarina Weslien’s Prussian Blue / Tara Lake] more...

A composition of two unedited, improvised tracks used as the basis of the soundtrack for Katarina Weslien’s Prussian Blue / Tara Lake [excerpt here]. The cello piece was created separately as a response to the video, but upon bringing them together it was clear that the sound and visual shared a strong synchronicity on both a large, dramaturgical scale and in the small moments of detail coincident with one or both of the video channels.


Pablo Lorenzana’s Emergence (2012)

soundtrack: cello, field recordings

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.