These objects emerge from a series of works about honeybees and about the plight of pollinators more broadly. In them, hot beeswax is poured directly onto sounding speakers and the results are captured as both video and audio.

A multisensory meditation on human disruption of pollinator ecology that includes sculpture, immersive sound, and video. A central tapestry of wall-mounted steel plates forms a rough map of US states that are recording bee populations. Eight fragrant beeswax speakers emit the spatialized sound of burning honey – each sizzling sound that emerges, played at a volume that at times teeters on the edge of audibility, links to one of the steel plates which bears the charred honey remains. A peculiar box, lined with orange acoustic foam is, in fact, the small sound stage where the honey was burned and recorded. Finally, in a large video projection, bees crawling across the surface of a hive are reduced to wisps of smoke. The Archive includes comfortable lounging platforms that invite visitors to linger and listen.

COLONY is an immersive sound installation that probes the complex relationship between bees and humans. It weaves together recordings of bees with interviews that explore our co-existence with these insects as well as our compulsion to understand them through a human lens. Voices include a blind beekeeper; a social practice artist who created an installation of hives in the shape of the notorious Pruitt Igoe housing complex; an architect designing a bee sanctuary in Tanzania; an author of a book about being raised among bees; and a Michigan beekeeper working in the field. All reverb applied in the work was recorded live in the cold war era surveillance radar station in Port Austin Michigan.

I am one of five artists selected for the Uncommon Art Residency in Jackson Wyoming. I will be working with local artists to enact a series of sound interventions that explore Charles Babbage's notion that sounds, once uttered, circle the globe for eternity.

I am one of three individuals selected to be an artist in residence at the Zion National Park in 2022. I will be in living in the park for the month of February recording, interviewing and seeing where the location takes me. I am the first sound artist to be selected for the program which has existed since 2010.

A commissioned prototype for Cooper Hewitt Interaction Lab's Activating Smithsonian Access. ArtEcho explores a selection of the museum's artifacts through sound.

This ongoing series of experiments on a green screen work surface combine sound improvisation with post processed video images.  These sketches are a chance to "limber up" to let ideas happen and then to contextualize them visually after the fact.

This audio work was created for the project "The Dream Had Me" for Earlid, Curated by Joan Schuman. It recontextualizes unearthed minidisc recordings I created between 1999 and 2007. A revised audio biography and sonic reverie.

Audio work created for Project Inferno, a celebration of the 700th Anniversary of Dante's Inferno presented at Cities & Memory. It explores the idea of gravity and as Dante and Virgil get close to Lucifer at the center of the planet, strange things begin to happen.

This was a pandemic activity in which I created soundtracks for the remarkable films of Jean Painlevé. When brain-activity is challenged, let the images suggest the sounds.

Multi-channel sound installation. Immersive sound and glass objects forge an unlikely connection between an absurd work of 16th century literature, the ancient pseudo-science of alchemy, and political hate speech.

Audio work created for the online project Earlid, curated by Joan Schuman that features recordings captured at the Marble House Project in Dorset Vermont, the site of an abandoned marble quarry in a village of abandoned marble quarries.

Installation exhibited in the group show Pushing Buttons at Agnes Varis Art Center in Brooklyn, NY. It includes glass objects, dry ice, video, and viewer interaction that determines the playback of audio.

Just added from the archives! a 2009 kids workshop in which we worked together to recreate the sounds of a storm.

Live performance at UrbanGlass with glass blowing, percussion and sound manipulation. It combines the alchemical qualities of glass, Rabelais’ Gargantua and Pantagruel and the words of Donald Trump.

A series of related works created during a Family residency at Marble House Project in July 2017. The title alludes to the three-part structure of the work with each word of the tile acting as an organizing theme.

An exhibition that I curated for the Center for Book Arts in NYC inspired by the work of Italian designer and artist Bruno Munari.

A collaborative installation with Emma Critchley for the exhibition Ocean Imaginaries at RMIT in Melbourne. It combines her video with my sound installation.