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


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.


‚ÄéRelatively 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.