I believe in creating music without the limitations of pre-determined, specific genre or space, allowing each project to lead the sounds. This practice has taken on the form of a multichannel sound installation including a home-made instrument and sound sculptures swinging subtly from the ceiling. Another time it became a fashion film showcasing bright pink feminist costumes to the tune of a typewriter, clicking to sustained chords played by brass instruments. Then there was the time where it put together that bass-heavy beat, sampling keys and banging doors to compliment an inmate’s story about life on death row.
Change is the world’s only constant. By welcoming change and not taking my own process too seriously, I strive to produce sincere pieces of art
While at Headlands
Iceland and the United States share a rich history. During World War II, the US occupied the Nordic island, and supplied jobs, put up infrastructure, and brought in foreign currency. The US even became the first country to recognize Iceland’s independence from Denmark. This love affair was not only political, it was also deeply personal. Icelandic women were enamored by the handsome foreign soldier, much to the dismay of their Icelandic suitors. These affairs were dubbed “The situation” and gave birth to relationships, children, and harassment.
Despite all of this, after living in the US I learned that the one thing that seems to have penetrated the American zeitgeist is the tale of how the Vikings switched the names of Iceland and Greenland. During my time in Headlands, I will produce a multimedia video and sound installation titled: Iceland Is Green—Greenland Is Icy, it’s a piece about a piece of history.