06: How did you get
related with music (in your early years, perhaps, or later) and which
was the first record that you played?
I didn't get
involved directly with music until later in life. I remember when I
was about five or six asking my mother to get a record player and we
joined the Columbia Record and Tape Club. My mum wasn't very up on
what was popular at the time so she went through and selected records
based entirely on whether she thought the band names and titles
sounded interesting, so we ended up with a lot of random things like
ZZ Top's Fandango (did not love) and some things that became lifelong
favorites like Sergio Mendes' Foursider. I mostly liked sound effects
records as a kid, though - was sort of obsessed with them, which
makes a lot of sense now.
06: Can you describe
certain types of "overlooked narratives" that you are
interested in exposing through your visual and sound works? Is there
a specific quality in these narratives that you are most driven
towards exploring?
Via field recording,
I capture unfolding real time narratives and try to reconstruct their
essence into new narratives in a compositional framework. By virtue,
the quotidian is often overlooked in favor of that deemed more
exceptional. I try and uncover the exceptional qualities of the
seemingly ordinary, the depth of the everyday. The act of recording
focuses one's ears, allowing the overlooked to be heard.
06: If we might ask: how was the environment during the first years of your life?
I was a very
solitary child, and that remains my nature now.
06: Are there
metaphors in your sound making and painting that are omnipresent?
Probably but they're
very individual and personal so I don't expect a lot of listeners
would pick up on them. I would not want to be too obvious!
06: Breathing,
organic matter, sounds of animals, continuous flow of things
appearing to be in process of becoming something, overexposed warm
colors, layering forms -random words that come up while experiencing
your work. Is there a clear voice or pattern or element that has to
emerge through these "compositions"?
I'm not sure. I
suppose over time patterns will emerge but it's hard to see them
while inside the process of making things. In art school we were told
to not fret over finding one's voice or style and that it was through
the practice of work that that would develop, most likely unbeknownst
to us as it was happening. Any conscious attempt at creating that can
lead to mannered gestures.
06: Is there a
person that has influenced you very much?
Personally, my mum
and grandmother. Musically, Luc Ferrari.
06: Why do you think
people come experience your shows?
I think they're
usually there to see someone else on the bill!
06: What is
happiness for you?
Being left alone to
work in some semblance of peace.
06: What is finally
a composer?
To me just an
organizer of sounds.
06: How do you
decide which sounds that you create with instruments are to be
blended in with your recordings? Or, how is this process really like
and what is the motivation behind it?
Over the course of
making things, timbral and textural needs arise that I address with
the addition of instrumentation. The process is long and deliberate.
I am interested in the line between discovered and intentional
sounds.
06: What is good
music?
I don't know that
there is any one answer to that that would be true for everyone.
06: Who is your
favorite painter?
As far as people
working nowadays, I'm pretty fond of Lance Austin Olsen's work
http://lanceolsen.tumblr.com/
06: Where do you
live now? Do you go out often?
I live in Austin
now. I go out extremely infrequently.
06: Would you like
to be as famous as the Beatles?
Like the Beatles, I
would like to make a film with screaming teenage girls chasing me
through the streets. They would all be myself as a teenage girl,
though, and I suspect they would be trying to catch me and take me to
task for my poor decision-making.
06: Is there a
person that you are glad you have met through this work?
Many, and if I
started naming names it would just turn into a huge list. I have some
degree of confidence that those people are aware of it.
06: What is the
importance of criticism, what is its role? How do you use the reviews
on your work?
Critique during the
creative process is extremely important and I'm fortunate to have
trusted friends to bounce things off of who will be honest with me.
As far as reviews, good ones are far more dangerous to believe than
any bad ones.
06: What do you
think is going on in the field of female art making within the frame
of the current art world as it is?
I try not to think
more about the current art world than I have to.
06: Could you do
something other than what you do in your life? Is there something
you would very much like to do but have not?
Well, I didn't start
doing this until later than a lot of people do, so I must have been
doing something else other than this in all that time but much like
people describing an intense love affair in which they can't remember
what they did before it, I can't imagine doing anything else now. I
would like to get out of the States and play and record in some other
parts of the world, though.
06: Do you like to
wake up early in the morning?
Yes, it's quiet and
there are already not enough hours in the day to spend any sleeping
late.
06: Do you think
that everything has been said and that we are just simply
rediscovering?
While I think people
should concern themselves more with trying to do something good than
with something no one else has done, I also believe that not
everything has been said. The pursuit of the new for its own sake is
like a dog chasing its tail.
06: What is so nice
about collaborating that you cannot enjoy while working alone and
what is so nice about working alone that you cannot get while
collaborating? (Examples of collaborations you have enjoyed are very
welcome)
Collaborating is
nice because you're not so much in a vacuum. Working alone can be
solipsistic which has its ups and downs. My collaboration with Lee
Patterson due out soon from Another Timbre is a good example of
collaboration partners helping to balance one another out.
06: Can you send us
an example, a picture that best illustrates for you the significance
of art in our lives?
see attached photo
"clarissa.jpg"
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