https://www.variform.org/page daily 1.0 2019-08-27 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5d4b1d42af499b000166e5fe/1565203786928/squareKARA-LIS.jpg ▢ https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/595ddfbcdb29d61c23edf5d0/1499324380812/ ▢ https://www.variform.org/maggie-heath daily 0.75 2018-01-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/595dcc32197aea78bef44f51/1499320584697/ MAGGIE HEATH - OCCUPATIONS ( tests) by Maggie Heath. Physical installation. June 2017 - October 2017 “But woman’s allegedly definitive tendency to put the inside on the outside could provoke quite another reaction.” The Gender of Sound, Anne Carson “Colors appear connected predominantly in space. Therefor, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly and in many ways.” Interaction of Color, Josef Albers In, Occupations, tests I am compiling methods and remenants from various jobs and art exhibitions I have had in the past two years. Materials are left exposed. Process available. Simple discarded moments make up the sourcing of material. Tableaus put together, forced into simple structures. The colors considered—they are part of our vision. Color, how we grasp onto sight, allowed with variations of light allowed in. Maggie Heath is a Portland artist whose work rests in considering the space a body inhabits. Heath received her BFA from Portland State University in 2015 and has been awarded an honorable mention in ISC's Outstanding Student Achievement in Contemporary Sculpture Award Program, the Kamelia Massih Outstanding Student Prize in the Arts, and received a 2015 Precipice Fund from Portland Institute for Contemporary Art. Her work has been seen at various galleries throughout Portland including: Surplus Space, Timeshare Gallery, MK Gallery, AB Lobby Gallery, galleryHomeland, Autzen Gallery, 511 Commons, Blackfish Gallery, Short Space, and was part of a group exhibition at Virginia Commonwealth University. Heath is co-founder of Bronco Gallery, an alternative gallery space that is based out of a 1991 Ford Bronco. https://www.variform.org/karalis-coverdale-kara-crabb daily 0.75 2018-01-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/595dcf4bdb29d61c23ed81ab/1539383027079/ KARA-LIS COVERDALE & KARA CRABB - CHILDREN   by Kara-Lis Coverdale & Kara Crabb. 6 July 2017 "In “Children,” Coverdale and Crabb offer a spellbinding sonic meditation on the primacy of interpretive utterance in relationship to external stimuli. Through her vocal incantations, Crabb invites the listener to inhabit the mind and body of a child encountering the world and its objects for the first time, making sense of them through vocalization. Coverdale notes that this process of instinctual interpretation through vocalization liberates a given object of its naturalized meaning and function while conferring new meaning and possibility back onto the object. Also notable is the fact that Crabb sings from an encrypted text of sorts – what is a foreign language to her – as if to also emulate an interpretive computer program as it decodes human generated script. Ultimately, the collaborators here imagine the voice as the original conduit of human subjectivity and agency, reflected in its narrative preeminence in the score relative to other sonic devices. A multitude of organic and synthetic sounds serve as the accompaniment and underlying structure, remaining, for a time distinct from the voice; this architectural configuration of voice and instruments thus symbolizes the distance between parent and child, form and content, a precious gem and its setting. Notable among the accompanimental forces are the flute, music fashioned from an algorhythmicaly derived melody, and the overtly synthetic strings, which enmesh contrapuntally with the voice. Indeed, as the piece seemingly builds to a climax, the sounds become indistinguishable from the voice, inspiring hope in the listener -- hope for connection, intelligibility, and meaning. Yet Coverdale, unwilling to indulge in conventional teleological structures, defies the listener’s expectations as the would-be apogee breaks apart, concluding instead as but a fleeting moment of sonic conjecture." Jessica Holmes, UCLA Postdoctoral Scholar, PhD Musicology - McGill, Montreal, 2017 - Kara-Lis Coverdale is a composer and artist who explores the distinction between the human and data in unique and surreal ways. Her work has often focused on various forms of disembodiment, transcendence, and fantasy, firmly rooted in a fascination with ecology. Her 2014 work A 480 (Constellation Tatsu) explored the digital voice in a series of acapella pieces accompanied with graphic .nfo scores to index, play upon, and make creative the mode of production from which the sounds were sourced. Other works are 2015’s Aftertouches (Sacred Phrases), which explores notions of a new, limitless- frontier that bridges often distinct sound worlds seamlessly and integratively and explores the digital frontier with emotive fluidity. Sirens, a collaboration with LXV, explores alternate narratives of sonic violence, re-inscribing and re-interpreting expressions of pain as they are translated from context to context, medium to medium. Grafts (2017, Boomkat), is her latest release that studies a fundamental characteristic of electronic music within the artist’s own practice: the spitting of sound. She has also written extensively on what she calls “veridicism” in music to index the myriad contexts in which understandings of realism in mediated musics are sonically and culturally terraced and always in flux, and how this affects memory and meaning perceptively. Kara-Lis has presented work at festivals like Unsound, Atonal, RBMA, InaGRM, Mutek, and via institutions like the Barbican, Tate, AGO, and Elbphilharmonie, and has recently been artist in residence at EMS Stockholm, GRM Paris, Oboro Montreal, and IAC Malmö. She is presently working on a commission on language for music and dance for Vanemuine Theatre in Estonia, and a project called VoxU, a work that explores the first vocal synthesis instrument, Vox Humana, (c 1500) to be premiered in August via Mutek at SAT in Montreal. She is also known for her collaborations with artists like LXV, Tim Hecker, is part of the artist collective and label ACTE. She is currently based in Montreal. - Kara Crabb’s artistic practice combines hyper-realism, metalinguistics, and animism. Drawing inspiration from reality TV, mythology, and the healthcare industry, her work bravely undermines systems embedded in the everyday, often verging on satire. In 2011 her play, The Stillbirth, premiered at the SIPA Short Works Festival at Loyola Chapel in Montreal. From 2011 to 2013 she released several experimental performance pieces through VICE, which explored fashion, bodily function, and narrative. Her work has been published by Tunica Studios, TIME Inc., and FASHION Magazine. In 2014 she collaborated with Kara-Lis Coverdale on Royal Jelly, which premiered at Arts Court Theatre in Ottawa, and explored nuances of feminism, cannibalism, and technological dependency. From 2015 to 2017 she studied linguistics and psychology and became invested in cognitive research, across species, and across perceptions of neurotypicality. - Kara-Lis and Kara have worked together since 2011 in numerous creative capacities and projects: a performance series for VICE (Coon-Suit Riot, Rollin’ Rollin’ Rollin’, and Pee In My Mouth), an original play and score called Royal Jelly for The Fringe Festival in Ottawa, and The Reproductive Life Cycle of a Flower for Theatre Passé Muraille, a play for one written by Kara Crabb with original score starring Norah Paton. https://www.variform.org/eric-frye daily 0.75 2018-01-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/595ddc8186e6c053c33b9927/1515708175038/FRYE_VARIFORM.png ERIC FRYE - ON SMALL DIFFERENCES IN SENSATION (S/P/S/P DIFFUSION) by Eric Frye. 3 August 2017 "Frye's work challenges the perception of an auditor by the dissociations of the sonic environment, the heterogeneity of the successive motives, often separated by sharp fractures and repetitions with slight modifications of multifaceted sounds, recalling ‘real-world’ sounds, but with a variance. Whence an increase in attention." - Andrée Ehresmann, Université de Picardie Jules Verne . Eric Frye is a composer, artist, and curator. Exploring non-orientable sonic surfaces, Frye operates between the disciplinary boundaries of sound, philosophy, linguistics, and mathematics. His live performances and installations are focused towards a recalibrated layering of multi-channel diffusions. Simultaneously dissociative and palpable, Frye’s compositions activate an interplay between material and immaterial. His latest recording, On Small Differences in Sensation, which includes texts by Fernando Zalamea, Inigo Wilkins, Andrée Ehresmann and Mathias Béjean, was released by Copenhagen-based imprint, Cejero. In April 2015, Frye recorded new pieces for multi-channel installation at Harvard University Studio for Electroacoustic Composition. During October and November 2015 Frye’s solo exhibition, a 12-channel electroacoustic diffusion titled Zenzizenzizenzic, was installed at Rochester Art Center in Minnesota. Recently, he has been composing new work in the anechoic chamber at Minneapolis' Orfield Laboratories in addition to collaborating with software designer Sam Wolk. For his latest curatorial endeavor Frye organized the series, Exploring Compositional Epistemologies, which included an installation by Florian Hecker as well as lectures and performances by Roc Jiménez de Cisneros, Curtis Roads, Guerino Mazzola, Reza Negarestani, and James Hoff, at Midway Contemporary Art in Minneapolis. Reviewing the series, MN Artists described it as "an erudite survey of the fusion of technology, composition and performance exploring the intersections of time, knowledge, self-hood and sonic space." Frye’s work has been shown at Hangar Art Centre, Barcelona; Audio Visual Arts, New York City; Rochester Art Center, Minnesota: and more. He has performed extensively in the US, UK, and Europe alongside artist such as Rashad Becker, Curtis Roads, Jeff Witscher, Ben Vida, at venues including Berghain Kantine (DE), ISSUE Project Room (NY), Cafe OTO (UK), Les Instants Chavirés (FR). In October 2016 Frye was artist in residence at EMS Elektronmusikstudion Stockholm. Currently, he is developing a multi-sensory performance with researcher Simone Niquille, in addition to preparing material for a new solo exhibition. He has forthcoming releases on Anòmia, and Further Records. - " Mathematical sheaves were invented by Jean Leray in a concentration camp around 1942. Product of the high spirit of French resistance against horrible conditions, sheaves have become one of the central inventions of 20th century mathematics. Developed further in Henri Cartan’s Seminar at the École normale supérieure between 1948 and 1951, sheaves are the simplest and most profound mathematical tool to study the dialectics between the local and the global. A sheaf consists just of two topological spaces, an upper one projected onto a bottom one (base), in such a way that locally the two spaces behave similarly. The sets of inverses (along the projection) of points in the base are the fibers of the sheaf. The inverses of neighborhoods are the local sections of the sheaf. The main question to be addressed is how local sections can be glued together into a global section. Not always such glueings are possible, but when they are obtained, they produce powerful representation theorems in mathematics. In the brilliant hands of Alexander Grothendieck, sheaves were used later for the foundations of his entire new category-theoretic understandings of number (schemes), space (topos), and form (motives). The fundamental transduction of electric impulses into acoustic sounds, proper of electroacoustic music, enters well into a sheafification process. Drawing on conceptual motivations coming from Charles Sanders Peirce’s studies on nerve excitations, Eric Frye’s “On Small Differences in Sensation” produces an outstanding concrete sheafification of sounds, objectifying Peirce’s “pragmaticism” and Grothendieck’s “categoricism” (ugly words not to be used lightly, as Peirce advocated). In fact, we can imagine a natural sheaf where Frye’s works live: on the base of the sheaf we can draw a Stone space (with its totally disconnected topology), observe the dots in the fibers as discrete electroacoustic marks, and imagine the local sections as some of the more continuous sounds of Frye’s pieces (sometimes recalling a train, the sea, or the wind). “Sheafifications” introduce perfectly the small differences of sensation (small distances in the neighborhoods of the disconnected base), and “Diffusion Soliloquies” construct a fascinating thread of individual pitches and relative clashes, where the diffusion of the particulars becomes blended into an accumulative, glued, multi-dialogue. One of the surprising revelations of the categories of sheaves is that their intrinsic logics are intuitionistic, non classical. This becomes central for the development of some sort of “electroacoustic sheafification”. As in Eric Frye’s “On Small Differences in Sensation”, it is indeed fundamental that the musical sound objects live in contrasting discrete/continuous surroundings, not governed by an excluded middle classical rule, but able instead to be transformed through intuitionistic blending processes: excitation, diffusion, transduction, conglomeration. The force of synthesizers in electroacoustic music comes precisely from their innovative capacities to glue locally the most disparate sound diversity. On another hand, in contrast with traditional classical music, it becomes also clear that global sections, on such conditions, are not only impossible, but non desirable. The diverse geometry of the World is well captured in Frye’s “On Small Differences in Sensation”, where the many spatial aspects of sound acquire inspiring concrete realizations. " Fernando Zalamea, Universidad Nacional de Colombia July 31, 2016 https://www.variform.org/cathedral-park daily 0.75 2018-02-07 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a57e07071c10b996485a58b/1515708580288/b+format.jpg B-FORMAT SIGNAL SET WAVES INTO CATHEDRAL PARK - B-FORMAT SIGNAL SET WAVES INTO CATHEDRAL PARK   20 August 2016 This project demonstrated audio composition from seven artists utilizing B-format ambisonic panning and head-related transfer function processing in a large public park. Cathedral Park lies at the base of the St. Johns Bridge, a historic bridge designed by renowned engineer David B. Steinman. The audio pieces were designed to interact with the foundational architecture of the bridge, utilizing six long-throw audio horns meant for long range projection. Commissioned by the Andy Warhol Foundation for the Visual Arts. BEN GLAS With this project I am looking to further explore perception(s) of simple sonic events in time and space within a multichannel installation format. My personal aim is to help activate the space for audience members, on an individual and group platform, and to stage an opportunity for us all to sculpt and compose our own perception with awareness and consciousness in time and space JUSTINE HIGHSMITH Justine Highsmith is an experimental video and sound artist currently working in Portland, OR. Her site-specific installations explore the technological dreams and disasters found in science fiction, post-human identities, and dystopian glamour JESSE MEJÍA Jesse Mejía is a composer, performer, engineer and educator living in Portland, OR. With a rigorous focus on interdisciplinary process, and research - Mejía uses sound, video, generative technology and custom electronics in contextual relation to bodies and space. Mejía directs a community choir (ask about joining!), and teaches Max/MSP at PCC. The piece presented here is an excerpt from a new/in progress endless generative installation work stemming from ongoing research being done in collaboration with Taka Yamamoto for his upcoming piece "A Direct Path to Detour" which will be presented by PICA in Spring 2017 CM SCHNEIDER So much of my past year has been spent waiting. Waiting for new work, waiting for rare opportunity. Feeling stuck in the political machinations around me. Knowing projected outcomes; enduring the time before that outcome arrives. This piece is a study in distention. That wavering state where your spirit arrests and your body keeps moving and all the thoughts in your head seem to drip out your left ear. Für Eva ANITA SPAETH Anita Spaeth is a multidisciplinary artist utilizing video, sound, and sculpture to create atmospheric and installation based works covering topics from family rituals and human compassion, to the beauty in the banality of daily life VISIBLE CLOAKS The structure of the work is inspired by English handbell ringing traditions - or "change ringing" - as originated by campanologist Fabian Stedman in the mid-1600s. Specific types of method ringing involve hocketing patterns derived by algebraic structures tied to group theory and are fascinatingly similar to other hocket-based ancient musical structures (for example, those found in Central-African pygmy vocal music). Within this work, these Stedman-inspired patterns are used in a circular 6-point structure (using FM synthesis tones emulating bell resonance) with an interlocking multi-part arrangement for voice and Armenian duduk WNDFRM recursive diffusion the process of re-listening and re-interpreting the sounds that we hear daily (the noise floor of our lives) is a worthwhile pursuit. it enables deeper awareness of our surroundings, and greater impetus to pause and consider this piece is a recursion of diffuse ambient sound from the park itself, and is an attempt to re-engage the geographic space with it's aural signature, albeit through a heavy layer of audio effecting and ambisonic panning i was pleased to also have some simple tonal content available from a public piano that happened to be in the space during the initial field recordings.. yet another layer of artistic diffusion https://www.variform.org/pioneer-courthouse-square daily 0.75 2018-01-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a57e0f6085229f556e7288a/1515708945136/GS+Sultan.png PIONEER COURTHOUSE SQUARE SOUND INSTALLATION - PIONEER COURTHOUSE SQUARE SOUND INSTALLATION   21 May 2017 Showcasing digital audio composition in the busiest transit square in downtown Portland, OR. The intent of the installation site was to reach transit commuters, providing an alternative to the corporate art and advertisement rife in the central business district. This installation served as a debut for G.S. Sultan's generative composition Qeba, later released on Sympathy Limited. This event was funded in part by the Regional Arts & Culture Council. G.S. Sultan (NYC) Daryl Seaver Ben Glas https://www.variform.org/tim-westcott daily 0.75 2018-01-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a57e4a0e2c483c38b4f5f70/1515709732795/21167195_147087842546797_5633398053514016013_o.jpg TIM WESTCOTT - THREE TWO EIGHT OR NINE by Tim Westcott. 7 September 2017 328 NW Broadway, Portland, Oregon 329 W Broadway, Vancouver, British Columbia "Three Two Eight or Nine" is a conceptual entanglement of two analogous physical addresses.. a transfusion of urban noise floor and sonic footprint. While there is nothing inherently captivating about the recording itself, we can explore the shared commonality of ambient urban backgrounds and their perceptive thresholds. The current listening conditions inside the gallery are a potentially stochastic element of the piece, affecting our ability to hear the recording in any specific manner...it may be in the forefront of our perception, or fuse into a subset of ambient noise with the street sounds of Portland. The geography of the piece is a metaphorical bridge for my personal and artistic journey over the last 20 years, having moved from the Lower Mainland to Portland in the year 2000. - "Tim Westcott’s work stems from a position of radical listenership, a deeply seated place of curiosity, inquisition and exploration. Rather than shying away from the hulking sonic cacophony of the anthropocene Tim finds ways to embrace, focus and re-frame the ‘noise’ of place: urban, rural, industrial and environmental. His work is delicate, immersive, spatial and invitational. Vested more in granular detail and sonic nuance than decibel and amplitude, Tim creates complex and evolving sound fields that beg for deeper listening. While much contemporary composition works to create immersive experience by sonically overwhelming space and sense, Tim’s work is the opposite: a haunting, and often haunted, ephemeral whisper of heavily manipulated field recordings and electronic synthesis. Tim’s most recent recording, released by the formidable electro-minimalist imprint Dragon's Eye Recordings, A Land of Falling Waters, is vast and dark. It is an authentic shimmering darkness born from the negotiation of sonic detritus and beauty in the 21st century. Within its 30 minute single track, found sounds ink into one another in fascinating undulating drones, asking us to reconsider what we actually know about the sonic world around us. As a curator and engineer Tim’s sense of radical listenership is evident and at the forefront. SIX (his co-curated six channel surround sound performance series) aggressively and consistently seeks out and presents different artists, composers, perspectives, opinions, and sonic approaches. Rather than creating a defined event or expectation of a particular type of sound performance, SIX creates a technical space: a tool for seemingly disparate works and artists. Those drawn together (performers as well as audience) by these events find vibrant fertile new relationships, friendships, and project ideas, fostering an exceptional sense of community and possibility. Tim, also an extremely skilled engineer, lends his technical abilities to countless regional performances and events. His humble yet meticulous approach to production and engineering adds a depth and richness to each project he participates in. Tim and his sonic practice as a composer, curator and engineer is an invaluable asset to the Pacific Northwest art community, his work an inextricable and vibrant part of its voice." Burke Jam, Adjunct Professor of Art Studies, Portland State University - Tim Westcott is a sound artist, musician and audio engineer currently based in Portland, OR. Tim's work is characterized by an auto-didactic, experimental process, and an atmospheric aesthetic. His recordings have been featured on a handful of boutique record labels including Prologue, Dragon's Eye. and Home Normal. Tim has performed live at local, national and international venues, including well known digital arts festivals like MUTEK and Decibel. While Tim has contributed to gallery-based experiences in a performative context, he is honoured to present his first solo sound installation exhibit at Variform. https://www.variform.org/aki-tsuyuko daily 0.75 2018-01-12 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a57e5a871c10b996486c57e/1515710037064/22051174_154567631798818_8280276483944570009_o.jpg AKI TSUYUKO - AKI TSUYUKO'S ROOM by Aki Tsuyuko. 5 October 2017 "I have been playing my electric organ for about 30 years. My father worked at Kawai company as a salesman and he bought it for me, it was made in 80’s, the name was Dreamatone. It has really nice sound by half analog and half digital, it still brings new discoveries to me now, I love the tones, Hence my music.. But my organ looks like the time is drawing near recently, some tone colors don’t already come out of their sounds. Now, I have a feeling kind of a call to keep on playing it till the end. Like this, I could explain about my event regarding music if I wanted to, however I hadn’t always played a organ for 30 years. Naturally there were also days I forgot it, and of course I also had a time other than music. But there was certainly a life of me and Dreamatone with time that people never knew and even I forgot. This is one part of my 30 years with me and Dreamatone, in one part of the world that matters people doesn’t focus and has forgotten are overwhelmingly present. It’s not special, but it becomes to be a piece as if it’s something special, and my part comes to be sent to you. One day in the autumn, you meet today’s my music even I don’t remember, at the place I’ve never been, in far country, then I also come to meet my music again there in late October. It’s a recording my organ and sounds of outside one day, it will come to put on the someone’s time and to be one part of someone’s life passed out of their mind." -Aki Tsuyuko Tokyo, Japan 2017 Aki Tsuyuko first rose to prominence with her work in the late '90s on Nobukazu Takemura's Childisc label, culminating in her first solo album "Ongakushitsu" in 1998 on Childisc and later on Jim O'Rourke's Moikai in 2000 - a two disc set of minimalist compositions for piano, organ, and electronics. Since then, Aki has released recordings on Thrill Jockey and Japan-based Sweet Dreams Press - with her most recent LP, 2016's Empty Talk, being released on vinyl this month via the influential Tokyo label/shop ENBAN. Her tours around the world have seen her performing with the likes of Tortoise, Jim O'Rourke, Brokeback, Tara Jane O'Neil, Fountainsun, and Yo La Tengo. At the Tokyo venue ENBAN, Aki Tsuyuko gives a solo experimental recital “Aki Tsuyuko's Room” once every two months. Painting by Ippei Matsui https://www.variform.org/tessa-bolsover daily 0.75 2018-01-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a57e6c78165f545d7487796/1515710265399/23000296_162497154339199_4664952411103255025_o.jpg TESSA BOLSOVER - PLUM by Tessa Bolsover. 2 November 2017 “Language has unmistakably made plain that memory is not an instrument for exploring the past, but rather a medium. It is the medium of that which is experienced, just as the earth is the medium in which ancient cities lie buried.” - Excavation and Memory, Walter Benjamin Plum is an investigation into the ways we locate ourselves within space in relation to intangible matter -- light waves, radio waves, sound waves -- and how these relationships are mirrored in the ways we navigate memory. Made in tandem with a book titled Plumb, the project employs fragmented text, zoomed-in images, sound, and found objects to probe the boundaries of language and memory. Full of loneliness and mnemonic significance, the work references a multitude of personal and impersonal influences including submarine echolocation, Walter Benjamin, and the 2002 film "Signs". It is the distance between objects, the silence between soundings, and the remove between meanings that defines the experience of Plum. - Tessa Bolsover is an artist, writer, and curator based in Portland, Oregon https://www.variform.org/ben-glas daily 0.75 2018-01-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a57e7da652dea1b6c16de27/1515710528198/24831448_1749041875397262_5515989147254002102_o.jpg BEN GLAS - (MUSIC) FOR A TIME AND SPACE by Ben Glas. 7 December 2017 (Music) For a Time and Space provides a site-specific sonic experience. The work is a relativistic sound composition based on measurements taken at the Variform gallery, with three sources producing sound waves that interact with the space, creating various subjective tonal interactions for the audience. The work questions the friction-based boundaries between listener and composer, authority and subject. Each participant is prone to have their own experience, and paradoxically compose the perception of all other persons in the space at Variform. - Ben Glas is an interdisciplinary artist and composer based in Portland, OR. With a keen focus on sonic phenomena and vibration, his work engages concepts of relativity, space-time and egalitarian modes of experiencing sound. His past works include public sonic installation in Portland such as B-Format Signal Set Waves into Cathedral Park, and recordings such as Music To Interact To as released by the New York label Blankstairs, Intra/Inter and Inging (From My Space To Yours) as released by Portland-based label deepwhitesound. He is an active member of the International Artist Collectives INK and Mediterranean Fires. His EP, Music For An Empty Space and A Full Mind was released in 2017 by Sounds et al, alongside an exhibition of the same name at the ONE GRAND GALLERY, included as part of Design Week Portland 2017. https://www.variform.org/foodman daily 0.75 2018-01-16 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a5815bc9140b7a08450c525/1516768165852/foodman+edit.png 食品まつり A.K.A FOODMAN - かき揚げ by 食品まつり a.k.a foodman. 4 January 2018 樋口貴英は名古屋出身の電子音楽家。食品まつり a.k.a. foodman として日常の生活をデジタル化した彼の音楽は、国際的にも支持を集めており、身の回りで見つけた音をサンプリングし、楽しみという概念を意識した彼のアートは、想像の沸き上がる虹のようなカラフルな世界と称賛されている。アカデミックな音の彫刻と未来性のあるダンスミュージックの間で、食品まつり a.k.a. foodmanは革新的なサンプリングと音楽構成を巧みに使用し、新しい言語を奏でる。2016年にリリースされたアルバム「イージー民族」は Pitchfork の2016 年エキスペリメンタルアルバム部門に選出され、その年に行われたワールド・ツアーではアメリカ、ヨーロッパ、日本をはじめポーランドのUnsound、デンマークのPhono、オーストリアのDonaufestivalなどにも出演。 樋口 貴英 is an artist from Nagoya, Japan. His work as 食品まつり a.k.a. foodman has received international acclaim for its digital repurposing of daily life into song. 樋口’s work explores the concept of fun in the creation of art, utilizing found sound from his direct surroundings to create a body of work that is described as “colourful spaces conceived in rainbow-like bursts of imagination.” Lying between academic sound sculpture and futuristic dance music, 食品まつり a.k.a. foodman builds a singular language through his inventive use of sampling. The album イージー民族 (EZ Minzoku) was considered one of Pitchfork Magazine’s top experimental albums of 2016, and 樋口 貴英 has performed at festivals such as Unsound in Poland, Phono in Denmark, and Donaufestival in Austria alongside touring in the US, Europe and Japan. Translation: Cay Horiuchi. https://www.variform.org/tlaotlon daily 0.75 2018-01-24 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a6813858165f56ff87a6af7/1518764266173/Front+image+A3+png.png TLAOTLON - WIPER FBX by Tlaotlon. 1 February 2018 Tlaotlon is the alias of Jeremy Coubrough, an artist originally from New Zealand who for the last two years has been based in Berlin. Since 2011 Tlaotlon has over a dozen releases and appearances on labels such as Trensmat, 1080p Collection, Dream Disc, Baba Vanga, Mmodemm, Wasabi Tapes and his own imprint World Memory. He is also active as a 3D and digital visual artist. In 2018 Tlaotlon will release a mixed-media interactive project with the digital media collective and label Quantum Natives. https://www.variform.org/golden-retriever daily 0.75 2018-02-16 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a86817a0d929736e63ddc95/1552191719224/titan1jpg-7697d875753e7d6f.png GOLDEN RETRIEVER, HAIR & SPACE MUSEUM, WL - Golden Retriever . Hair & Space Museum . WL   Golden Retriever and Hair and Space Museum will both be presenting special performances using one of the oldest pipe organs in the city of Portland. This marks the first time Matt Carlson in Golden Retriever, and David Golightly in Hair and Space Museum, have used a pipe organ in live performance. Supporting them are WL. Sunday, March 18th First Congregational Church at 1126 SW Park All ages, $10 Doors at 7:00pm, first performance at 7:30pm. - Golden Retriever was formed in Portland, Or. in 2008 by multi-instrumentalists Jonathan Sielaff & Matt Carlson. Focusing on the relationship of two primarily monophonic instruments (modular synth & bass clarinet), and utilizing layering with a deft balance of improvisation & composition, the duo has created an infinitely varied approach to their sound world. Their most recent release, Rotations, featured an expanded section of woodwind, strings, choir, and piano. - Hair and Space Museum is the multimedia performance and installation duo of David Golightly and Emily Pothast, who are also the cofounders of the band Midday Veil. Their music combines rapturous new age textures and dark, dramatic incantations for synthesizer and voice. Golightly is a classically trained pianist whose studies in composition and computer music included courses with Karlheinz Stockhausen in Kuerten, Germany. Pothast is a visual artist who earned an MFA from the University of Washington and a regular contributor to The Wire. Previous Hair and Space Music projects have included a 12-hour improvisation and a custom-built meditation pyramid full of sound. - WL is a three piece exploratory rock band from Portland, OR. Playing together since 2012, they work with inverted pop structure and improvisation. Their most recent release, Light Years, was a visual album culminating from years of recording and filming with video crews. - First Congregational Church of Christ is a historic building registered with the State of Oregon. Completed in 1895, and designed by Swiss architect Henry J. Hefty, it is one of the few examples of Venetian style architecture in North America. First Congregational is an active church who works closely with providing resources for the houseless, social activism against Islamophobia and other forms of racism, anti-immigration law, and is an Open and Affirming church providing LGBTQ resources for the Portland metro area. https://www.variform.org/ambienti daily 0.75 2018-03-02 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5a9895f4419202d7ea953f1f/1525378388850/IMG_3576-room5.jpg AMBIENTI COASSIALI - EMPTY HEADS by Ambienti Coassiali 1 March 2018 Ambienti Coassiali videos stand as spaces of the mind populated by signs, dreams, words, lights and clippings of clouds, on a curtain woven by signs and words that compose and break out of the organized codes, returning "ambiguity" to the vision of a space otherwise flat in the details. The videos have been made using the broadcast TV equipment of a public TV station during night shifts. Experimenting and exploiting the capabilities of video mixers, titlers, colour correctors, tube cameras, video tapes and editing controllers, synthetic abstract images, light loops and poetry text have been created and edited to form the structure of the three original Rooms videos (4-5-6). Using the same techniques as source, Room 3 has been made in 1996 and the remaining two Rooms have been realized in 2017, in occasion of the vinyl/DVD reissue of Ambienti Coassiali Vol. 1 by Incidental Music. From 1988 to 1994 Empty Heads videos have been selected and presented at several festivals, among them: 1988 - U-Tape, Ferrara, IT 1988 - Giovedì Primo spettacolo - Bologna, IT 1989 - Musica in video, Milano, IT 1990 - Anteprima cinema indipendente, Bellaria, IT 1990 - Videoculture 3 , Napoli, IT 1990 - Video PAL, Perugia, IT 1990 - le culture della visione, Milano, IT 1991 - 13th Tokio Video Festival, Tokyo, JP 1991 - Filmaker, Milano, IT 1991 - Giovedì Primo spettacolo - Bologna, IT 1992 - 14th Tokio Video Festival, Tokyo, JP 1994 - Locarno VideoArt Festival, Locarno, CH https://www.variform.org/chloe daily 0.75 2018-05-03 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5aeb6ddef950b705789cb697/1530754597527/Band-Overlap.jpg CHLOE ALEXANDRA THOMPSON Chloe Alexandra Thompson 3 May 2018 on one hand, this is saying nothing; on another, it is saying too much.   close proximity may cause tension or breaks in an otherwise flat surface.   desire: to be dizzying in affect lounge worthy a hymn   Chloe Alexandra Thompson (b. 1990, Canada) is a Cree artist and curator living in Portland, Oregon. Thompson works in new media and poetry, using aesthetics as a means to seduce the viewer into a stream of ongoing equilibrium and the interval that articulates the rush of daily events. https://www.variform.org/brin daily 0.75 2018-07-05 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5b3d76da0e2e723077cad82c/1530754920742/image1+%281%29.jpeg BRIN Brin 7 June 2018 Variform's June exhibit will feature a two hour durational performance by Colin Blanton, performing under the alias Brin. His work with Brin explores sensory-controlled percussion software and sound design, using a snare and kick drum to manipulate digital synthesis and sampling. https://www.variform.org/geological daily 0.75 2018-07-05 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5b3d78610e2e723077cb0890/1543270727536/image2.jpeg GEOLOGICAL CREEP - SWAMP COOLER by Geological Creep 5 July 2018 · 2 August 2018 Geological Creep is the slow movement of earth, whether the shifting of tectonic plates or the ever downward path of pebbles down a hillside. Using the same title, Shannon Kerrigan's music features sparse electronics to frame soft field recordings, and the resulting soundscapes lightly tickle and scrub. Her live performances rely in part on improvisation and she fearlessly blends the serendipitous commotion of the everyday, hinting at structure before letting it fall back into itself with grace and gravity. The music will leave you quieter, smoother, and more sensitive to your surroundings; a river rock tumbled by the hush of a constant and friendly force. https://www.variform.org/geological-creep daily 0.75 2018-11-26 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5bfc722c0e2e72b1c60450a4/1543270962263/40454757_291427334779513_1391040659070124032_o.jpg JONATHAN SIELAFF Jonathan Sielaff 6 September 2018 · 7:30pm Jonathan Sielaff (Golden Retriever, Dreamboat) will present a 90 minute durational solo performance at Variform. Using bass clarinet with electronics, he will explore long-form improvisation in a live setting. - Jonathan Sielaff resides in Portland, OR and plays the bass clarinet. Because he likes to play with drummers and electronic instruments, he often amplifies the bass clarinet and processes it with guitar pedals and other electronics. He cut his musical teeth in rock bands, new music ensembles and various schools of improvisation but between genres. His primary musical project is the duo Golden Retriever, with Matt Carlson on synth. They have released numerous tapes and CDs as well as albums with Root Strata and Thrill Jockey. https://www.variform.org/geological-creep-1 daily 0.75 2018-11-26 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5bfc72b5352f538ee4a90777/1546662795401/46388941_318493268739586_9052567217626939392_o.jpg DOLPHIN MIDWIVES - BREAK : preparations for the apocalypse by Dolphin Midwives 6 December 2018 Sage Elaine Fisher is an American composer, performer and sound artist based in Portland, OR. She is best known for her performance project, ‘Dolphin Midwives’ which integrates/abstracts harp, and voice using electronics, extended techniques and ritual processes. She explores themes of empathy, natural cycles, vulnerability and human relationships to structure and technology. Part social experiment, part meditation, part practical magic, she uses psychoacoustics, intuition, and constant re-interpretation of structure to invite awareness, transformation, empathy and transcendence. She has performed at various contemporary art centers and venues on the west coast, including Disjecta, S1, PICA, Coaxial Arts, and Columbia City Theatre, and shared her work at TBA Fest, Debacle Fest, PDX POP NOW, Olympia Experimental Music Festival, Subharmonic, The Wayward Music Series and the CMG’s Improv Summit of Portland. In 2015, she released Orchid Milk, her first recording under the Dolphin Midwives moniker. Her installation ‘NATURAPHONES’ was shown in 2016 at The Bison Building, as a culmination of a six-month residency for PNCA+OCAC’s ACD program, and featured four large-scale acoustic sculptures, ambient performance, and several sculptural prototypes. Later in 2016, she founded and directed the Dröna Choir to perform her new choral piece, invisibility ritual, which was performed on the new moon in total darkness, and explored the space between silence and sound. In 2018 she composed a new score for Night of the Living Dead, commissioned by the PJCE and supported by a RACC grant. Her upcoming album, Liminal Garden, will be released Jan 2019 by Beacon Sounds & Sounds et al. https://www.variform.org/clamber daily 0.75 2019-01-05 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5c3034174d7a9c0f3df1df65/1548209772810/48429480_336993683556211_2728408241418534912_n.jpg CLAMBER - NON-PLACES by Clamber 3 January 2019 Clamber will perform 90 minutes of sound collage and video footage sampled from around the world. The piece will examine non-places - spaces where people are put on pause and have no identity, relation or history. Viewers are invited to re-examine these mundane moments usually discarded by memory. Clamber is an experimental sound designer, filmmaker and performer based in Portland, Oregon. Clamber investigates the places and spaces where people are put on pause. Especially the loneliness, isolation and anomie of modern structures, and the non-places, the in-between spaces where people are without relation, identity or history. https://www.variform.org/amulets daily 0.75 2019-08-27 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5c47ced12b6a28c73a88e108/1549922152371/IMG_4698.JPG AMULETS - AMULETS 7 February 2019 Randall Taylor is an audio + visual artist best known for his musical project, Amulets. Taylor’s work uses analog tape and its imperfections to explore themes like degradation and nostalgia and their relationship to technology and to the self. Through technically modifying and re-purposing antiquated cassette players, Taylor creates visual sound sculptures, sound art experiments, and immersive art installations. https://www.variform.org/amulets-workshop daily 0.75 2019-02-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5c61f05b8165f5cd4175e12a/1549922405773/IMG_9692.JPG AMULETS workshop - AMULETS Tape Loop Workshop 24 February 2019 Amulets will be teaching two tape loop workshops for people to learn how to best create a cassette tape loop. While many online guides are available, he will be sharing his insight and wisdom built from years of experimenting with the cassette format. Over the course of the workshop you will learn best practices as to how to reliably build a cassette tape loop, build your own tape loops along with other students, and then share any material you dub onto a tape at thend. These workshops will be small and hands-on, allowing a teaching format that lets everyone who participates have their questions answered. There will be two separate workshops - one at 1pm and one at 4pm. Both will cover the same materials. Due to the size of Variform, each workshop will have space for 10 people. RSVP only, so please secure your spot before hand. To ensure people are able to fairly reserve their spot, please only reserve for yourself. Email variform@mail.com to RSVP. The cost of the workshop is $20. All materials will be provided, and participants will receive multiple cassettes from the workshop to take home with them. You will pay when you arrive for the workshop. https://www.variform.org/marcus-fischer daily 0.75 2019-08-31 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5c7b66169b747a0e60a1d0e5/1554942376287/IMG_4267.JPG MARCUS FISCHER - MULTIPLES by Marcus Fischer 7 March 2019 "Multiples" is a sound art installation created by Marcus Fischer including a multi-channel tape loop, an array of speakers containing the seed pods from an empress tree, and other elements. "Multiples" draws upon the themes of pattern, repetition, and their relationship to nature. Marcus Fischer is a first generation American musician + interdisciplinary artist based in Portland, Oregon. His work typically centers around memory, geography + the manipulation of physical audio recording mediums. Slowly unfolding melodies and warm tape saturated drones have become a trademark of his recordings + live performances alike. These sounds have found their way into multimedia installations, short flims, and even into the award winning public radio program Radiolab. Fischer has released a number of recordings on the widely respected 12k label including his photographic + sonic collaborations with label founder Taylor Deupree. In 2017 Marcus Fischer was an artist in residence at the Robert Rauschenberg Foundation / Rauschenberg Residency where he completed "Loss", his most recent album (released September, 2017) Fischer performs solo, in collaborations, and as a member of unrecognizable now, secret drum band and wild card. His work will be on exhibit at The Whitney Biennial 2019 from May 17th-Sept 22nd. more information at: mapmap.ch https://static1.squarespace.com/static/594b59574f14bc9c95178396/5d69f02c1c83ed0001ce2fef/5d69f02d4111190001037c4d/1567223855698/Multiples1.jpg MARCUS FISCHER https://static1.squarespace.com/static/594b59574f14bc9c95178396/5d69f02c1c83ed0001ce2fef/5d69f02c1c83ed0001ce2ff3/1567223854908/59_Marcus-Fischer_Multiples-wide.jpg MARCUS FISCHER https://static1.squarespace.com/static/594b59574f14bc9c95178396/5d69f02c1c83ed0001ce2fef/5d69f02ce4f17a000179e938/1567223855206/59_Marcus_Fischer-Multiples-detail.jpg MARCUS FISCHER https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5d69f150be3d8f00016857b5/1567224158807/59_Marcus-Fischer_Multiples-wide.jpg MARCUS FISCHER https://www.variform.org/spring-series daily 0.75 2019-03-10 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5c849168ec212de65934df96/1552191867873/Variform+Spring+Series+flyer.png SPRING SERIES - SPRING SERIES To celebrate Spring, we have curated a two day event. Night one will feature experimental electronics, headlined by PITA aka Peter Rehberg - organizer of groundbreaking label Editions Mego; and collaborator with Stephen O'Malley of SUNN O))) (as KTL), and Christian Fennesz and Jim O'Rourke (Fenn O'Berg). Night two will be a concert examining accessibility and dis/ability within sound art, led by the talent and vision of Myles de Bastion of CymaSpace, and only utilizing the low-frequency tones of a large-venue subwoofer system. 2 April 2019 PITA (Mego Records) Daniel Menche Jamondria Harris 3 April 2019 Myles de Bastion (CymaSpace) Strategy Chloe Alexandra Thompson $8 for one night, $12 for two - Peter Rehberg (a.k.a. Pita) is an author of electronic audio works and head of Editions Mego. Daniel Menche is an American experimental musician and multidisciplinary artist from Portland, Oregon. Since 1989 he has recorded many albums that are categorized as electro-acoustic, noise music, dark ambient music, abstract, avant-garde, experimental, field recordings, drone, minimalist music, percussion and soundtrack film music. Jamondria Harris is a poet & multimedia artist based in Portland. They use words, sounds, wires, instruments, textiles & what falls into their hands to engage with blackness, desire, decolonization, religion, spirituality, fairy tales, queerness, femme supremacy, & body horror. They are a VONA Workshop Fellow, among other things. Myles de Bastion is a deaf musician, designer and founder of CymaSpace, a Portland nonprofit focused on inclusive events and technology for Deaf and hard-of-hearing communities. Paul Dickow's main project is Strategy, a solo production project encompassing a wide variety of styles (house, techno, ambient, experimental/noise, dub, and more). He operates the Community Library and performs in free-improv trio Wild Card. Chloe Alexandra Thompson is a Canadian, Cree, artist and curator, living and working in Portland, Oregon. Using Pure Data, Arduino, hardware and voice, Thompson creates unique sonic experiences and expressions through the spatialization of isolated frequencies. - This two-day event has been made possible from funding from the Regional Arts & Culture Council's 2019 Project Grant cycle. https://www.variform.org/kevin-holden daily 0.75 2019-04-11 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5cae8a9f0d92975d3634c91c/1565204682100/IMG_8415.JPG KEVIN HOLDEN Kevin Holden 4 April 2019 In contrast to their exploration of volume and dissonance in their performances over the last year, Kevin Holden’s exhibition at Variform combines field recordings, guitar, and digital instrumentation and processing to create quieter, more hypnotic and meditative loops that have evolved from personal experiences over the last several months. Kevin Holden is a composer and sound artist based in and around Portland, Oregon, exploring volume and the physicality of sound by structuring dissonance, noise, and harmony against each other. They have recently performed, both solo and in collaboration with local artists, at S1 as part of their residency in December of 2018, and at the Portland Institute for Contemporary Art for Subharmonic: A Sonic Arts Symposium. They have recently exhibited sound installations at c3:initiative, ADX, First Brick, and the White Gallery at Portland State University. They are co-editor of LOCUSTS: A Post-Queer Nation Zine, a publication that focuses on critical and insurgent queer and trans politics, poetics, and aesthetics. https://www.variform.org/kevin-holden-1 daily 0.75 2019-08-07 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5d4b22f8b7eb1000013b9d83/1565205250691/b_jam_TernsPress+%281%29.JPG Copy of KEVIN HOLDEN Burke Jam 6 June 2019 Burke Jam is an artist, composer, curator and educator. His work explores sound as intervention–questioning and subverting perceptual coherence and relationships with physical place. His research engages the intersection of field recording, composition, acoustic ecology, and the Anthropocene. Following the completion of his MFA in 2013 at the University of Montana, Jam received a Fulbright Grant to Iceland researching environmental sound and methods of listening. Jam performs and exhibits internationally, and works as the Director of Digital Facilities and Instructor of Music and Art in the College of the Arts at Portland State University. This sound art installation utilized 12 motion detectors causing the sound to react to movements within the gallery. This piece functions with a single person in the gallery at a time, on a 4-minute interval. burkejam.com https://www.variform.org/burke-jam daily 0.75 2019-08-07 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5d4b29bbfa532c00010a606c/1565206981688/b_jam_TernsPress+%281%29.JPG BURKE JAM Burke Jam emptiness (resonant space) sine waves + magnetosphere 6 June 2019 Burke Jam is an artist, composer, curator and educator. His work explores sound as intervention–questioning and subverting perceptual coherence and relationships with physical place. His research engages the intersection of field recording, composition, acoustic ecology, and the Anthropocene. Following the completion of his MFA in 2013 at the University of Montana, Jam received a Fulbright Grant to Iceland researching environmental sound and methods of listening. Jam performs and exhibits internationally, and works as the Director of Digital Facilities and Instructor of Music and Art in the College of the Arts at Portland State University. This sound art installation utilized 12 motion detectors causing the sound to react to movements within the gallery. This piece functions with a single person in the gallery at a time, on a 4-minute interval. burkejam.com https://www.variform.org/cellularchorus daily 0.75 2021-01-08 https://static1.squarespace.com/static/594b59574f14bc9c95178396/t/5e7f9751844cdb358431be7d/1585420181726/89565784_2883343668429003_5798632378507198464_o.jpg CELLULAR CHORUS BY PATRICIA WOLF Photo courtesy of Michael Yun https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7daa53b042e9754b1f42d4/1585293942997/DSCF9448.JPG CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7daa5206b4c35122ea7c8c/1585293924106/DSCF9444.JPG CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da9cc1173962cc06e42f2/1585293773878/image00006.jpeg CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da9cc63d7965a884cad7f/1585293774104/image00009.jpeg CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da9cc0a5e5d2a3efad6a5/1585293773542/image00008.jpeg CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da9cb47c7f816da89c222/1585293773194/image00005.jpeg CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da9cb5ae8b938956ee43a/1585293773037/image00004.jpeg CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da9cb075b346ec396110d/1585293772843/image00003.jpeg CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da99dd6fbed74378d8b95/1585293738286/Cellular+Chorus+Home+Use.JPG CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da98efa919e2e91fac7e4/1585293733916/Jamondria_CellularChorus.JPG CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da9843ae6d4439b669ed8/1585293711504/CellularChorus7.JPG CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da9830a5e5d2a3efad3e3/1585293713812/CellularChorus2.JPG CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da97586693d3dccdc06c5/1585293703841/CellularChorusatLeaven.JPG CELLULAR CHORUS BY PATRICIA WOLF https://static1.squarespace.com/static/594b59574f14bc9c95178396/5e7da974aff3dd280680ae35/5e7da974d5037c1157863ddc/1585293703376/CellularChorusatKnot.JPG CELLULAR CHORUS BY PATRICIA WOLF