The objects of our everyday; the machine made, the hand crafted, the forced labor, the cheap materials, the mass-produced, the disposable and indestructible forge the reality of our experiences. Through a combination of hand made and found objects, Glass Room explores these props that we all use in the construction of self. We push, we pull, we break, we build, we wash, we reject, and we keep.
A monolithic assemblage - a chromatic array of 24 vinyl records. Two toy soldiers inside a model watchtower. It is winter.
Magnetic tape runs out of the mouth of photographs of Fritz Pfleumer. He’s dreaming of a white Christmas, or perhaps a childhood tapeworm. Around and down through the watchtower, the tape feeds into a reel-to-reel and over the dog-eared edges of the record covers, finally disappearing into mirrored infinity. “It’s a landscape of the future. It’s as though you used technology to take you off the ground and go like Alice through the looking glass” – John Cage 
Grainger/Edits presents excerpts taken from the works Walking Tune, Two musical Relics of My Mother and
Blithe Bells, composed by Percy Grainger (1882-1961) which have been reconfigured to form a new graphical interpretation, introducing fresh and abstract sonic directives. These revised works challenge performers to decipher new meanings from which to construct sound.
Grainger was an Australian born composer and pianist who pioneered many experimental techniques including extended piano, free music, music making machines, 'unplayable' pianola music, chance procedures and graphic notation, well before these became standardised approaches within avant garde composition.
This work proposes further abstractions in music composition through the language of sound and image in order to afford the freedom of interpretation to performer, composer and viewer.