If you’d like me to apply myself to a project you’re working on just email me so we can discuss what you want, compensation, and timelines. Here are some of the album package designs/concepts I’ve created for some very talented musicians in the past. Only the most recent will appear. Please click the ‘continue reading’ link below to see the full post with all the designs. If you want to buy any of these albums directly from the artists just click their link above the image.
Madwort Saxophone Quartet – Live at Hundred Years Gallery
I collaborated on this design with saxophonist/printmaker Cath Roberts. I had done the flowers initially and passed the block off to Cath to add more of an edge with the brambles. Then Cath printed them all up by hand as well, and they look fantastic.
Section 48 – Extended Play
This is a project by Anthony Hindley which had a Mr. Bungle feel as well as a clown theme.
^ what you see on the left when you open up the case: Paper doll!
de type inconnu – We Make Ourselves […] By Making Each Other […]
I had made this image/text in a sketchbook in 2013 and then in 2016 PA and Sylvain came upon it when in search of a cover to their album. I’m paraphrasing, but they said something to the effect that the text reflected perfectly what the music is about.
Tiger for a Goju Ryu dojo
A dojo contacted me to make a design for their t-shirts, explaining the significance of the tiger in their tradition.
Silence Blossoms – Silence Blossoms
As an alternative to the physical CD of their album, I also made a poster (that comes with a download code for the album). I used stippling to create the explorer/spaceman in the image, and used micron 0.3 to 0.8 pens to do it. Take a closer, zoomed in look. It’ll be worth it!
Continue reading »
Saturated. The Rest. is a collaboration between these amazing humans/techgnomes: Pierre Alexandre Tremblay, Sylvain Pohu, Patrick Saint-Denis, and Rodrigo Constanzo. The following 4 videos I made focus on different aspects of the project.
The creative process behind the Black Box Project. released Jan. 9, 2017
A quick and dirty 2 minute introduction to the project. released Nov. 2016
Tech Feature: the design of an instrument. Sept. 2016
Showing something of the beginning of the Black Box project. July 13, 2016. (only editing by me. Shot by Rod and PA)
I manipulated this video that Daniela Amortegui and Alex Grimes recorded. I time-stretched, color-fiddled, edited/reorganized Daniella’s reading of text she had written. Isolating her breath(s) was really important to me too. Then I added text to the video as well, since I knew that during the performance it would be the piano speaking* for her, which can be difficult to understand. I also played with shifting the text and the the video so they’re not always synced and at times I’ve added my own imaginary text. I wanted to treat this like poetry. Then Alex thought it would be a cool idea if we obfuscated some of the text and so we did that too. This was played/performed at the Pianos Without Organs Festival on Oct. 9, 2016 in Raleigh, North Carolina (the best Carolina).
Noise toy assembly! Workshop held on Sept. 30, 2016
I made this video for the Live Coding workshop hosted by the Yorkshire Sound Women Network which took place on Dec. 5, 2015.
made on Sept. 25, 2016
and on another day
further referenced in constellation.
Speculations in Sound, a symposium that took place on Nov. 30, 2015 (5 videos):
2. Introductory Presentations
3. Group 1: Born, Cassidy, Clarke, Edwards
4. Group 2: Harker, Harrison, Ingold, Mercer, Sergeant
5. Group 3: Bellamy, Brodsky, Donin, Lim, MacDonald, Thomas
Here’s the trailer:
A Robotic Piano Workshop with Peter Ablinger that took place Oct. 19-25, 2015
A living score asks you if you’re interested in realizing a work she’s the archive to.
This video is my yes.
[factory] is a proposal for collaborative performance action(s).
This video realization–“[factory] a long rope”– was created by me and features Mira Benjamin performing sections of her own realization of [factory]. She would normally do this in live performance settings so working on this video with me was a deviation from that too.
[factory] began as a set of 22 texts written by Luke Nickel. These texts—or verbal scores—were linked by a geographical map, with each text representing an individual conceptual area or room. Luke and Mira Benjamin (the original performer) agreed upon a risky proposal: she would read the texts only once and then delete them, allowing the work to exist solely in her memory and inviting forgettings and linguistic permutations to infect the ephemeral score-object itself. Mira is now the living score for the work, voluntarily responsible for its transferral, transformation and translation.
I’ve been a fan of Ingrid Mouth‘s work for about a year now, and have made a few other works based on her during that time. This is the latest, which I have based off of her brilliant video, The dance of the zentai (seen below):
And here’s the toy (!)
I made the wig and banana as removable accessories…just like in the video :)
While the figure is painted with enamel, the accessories have the yellow pigment mixed right into the resin before it sets, so they are yellow through and through.
Each one is slightly different.
The wig snaps on in the most satisfying way. I sculpted the master on a figure to ensure the hair imprinted itself on the inside.
I made a simple armature out of aluminium foil to start out with…
and sculpted her out of Sculpy (Original Super Sculpey to be exact). I watched Ferris Bueller’s Day Off on non-stop loop during the entire process. Sometimes a movie gets real sticky when I’m making something.
Then I made the 2 part silicone mould (here is the top half of the mould / about to pour the bottom half). There is absolutely a better way to have done this than the way I did. The way I designed it, I have to pour the resin through channels at each knee and chin…..but I’m new to this (this is my second figure) and couldn’t wrap my head around doing it another way. I think I have to make a 3 part mould to accommodate all the planes (ie the bent legs). In the end it worked ok enough though.
The channels at the knees and chin that I rigged to release air bubbles and to pour through.
I have to fill in some air bubbles at the knees and fingers with milliput, and sand them down because of the errors in my mould making.
[These are not for sale. I give them away willy-nilly.]
This post just kinda….ends.