Frame + Form | Screen Dance Festival

February 24-25, 2017

Frame + Form | Screen Dance Festival is presented by The Media Arts Project in collaboration with Black Mountain College Museum + Arts Center. This two-day festival features dance created specifically for film and video. An inherently interdisciplinary genre, screen dance combines the disciplines of dance, performance, visual art, cinema and media arts. The festival raises artistic awareness of this genre by presenting experimental contemporary dance films from nationally and internationally recognized choreographers and filmmakers. The first of its kind in Asheville, this festival also includes a hands-on video/movement workshop, panel discussion, and screening of historical films including the work by Black Mountain College teacher Merce Cunningham.

Screening $15 / Workshop $40 / Screening + Workshop $50

Facebook Event

Frame + Form | Screen Dance Festival Trailer

Frame + Form | Screen Dance Festival Screening Line-up

Stabilia
Stabilia
4:23, 2016
Mariama Slåttøy, Sveinung Gjessing
Norway

A massive circular chamber, constructed of steel and heavy concrete. Play of light is created on the wall by an opening in the roof. A woman is laying motionless with her eyes closed on the rough surface, demarcated from the outside world in the rusty room with no exits. She seems small and fragile, but then she opens her eyes.

Director Bio
Mariama is a director and professional dancer from Norway. She experiments with movement and space by using moving images in collaboration with architect and filmmaker Sveinung Gjessing.

More Information
Mariama.no
facebook.com/teipdans

Body-Language-Zone
Body Language Zone
10:13, 2015
Kim Saarinen
Finland

The film defies office workers’ day-to-day life, especially in the core of the European Union. It also defies our nature of using our body for communicating. Nowadays people are stiff and only use a couple of fingers to communicate with each other through electronic devices. The body language consultant gives good advice how to use body language in a different way in the office and social media environments. The film also defies the traditional storytelling with its episodes. In four episodes a consultant gives expert advice on body language for the office environment.

The episodes:
Zone 1: Body Language Consult, Zone 2: Touching Instructions, Zone 3: Body Language Management, Zone 4: Guaranteed Free Flow

Director Bio
Kim Saarinen is a 29-year-old Finnish director, videographer and editor. In the year 2013 he graduated from the University of Lapland with a M.A. in audiovisual media culture. During the past years he has gained varied experience in his field by participating in doing numerous video productions such as music videos, commercials and documentaries. Most important aspect of his artistic work is to create compassionate stories and evoke feelings that can many times be contradictory.

More Information
facebook.com/bodylanguagezone

Swimminghole
Swimminghole
3:43, 2016
Sarah Friedland
United States

“Swimminghole” is a music video for the premiere EP of Berlin-based electronic duo Droves. A dancefilm choreographed and directed by Sarah Friedland, “Swiminghole” features abstract choreographies of skin, fat and light, juxtaposed against a contemporary dance duet featuring dancers Kyle Marshall(Doug Elkins Co, 10 Hairy Legs) and Benny Olk (Merce Cunningham, Lucinda Childs Co). Cinematography by Gabe Elder and Production Design by Stephanie Osin Cohen.

Director Bio
Sarah Friedland is a filmmaker and choreographer who works at the intersection of moving images and moving bodies. Her short films have screened in the New Orleans Film Festival, Santa Barbara Intl. Film Festival, Anthology Film Archives, Mostra Internacional de Videodanca di Sao Carlos and many others. She has furthered her choreographic learning as a mentee of Julie Strandberg, a participant in MacArthur award-winning choreographer Susan Marshall’s SUMAC workshop, and an apprentice in 2014 with the American Dance Legacy Initiative. She is a graduate of Brown University where she studied Modern Culture and Media, graduating with the Weston Award for filmmaking.

More Information
www.motionandpictures.com

Sun-Sets-On-Sunday
Sun Sets on Sunday
6:55, 2016
Vladimir Gruev
Bulgaria

Sun Sets on Sunday explores the border between dream and awake state and how it creates realistic illusions which lead to erasing the border line between dream and reality.

Director Bio
Vladimir Gruev is a young Bulgarian artist based in London. Initially started as a breakdancer in Bulgaria, but later on he left for the UK to study filmmaking in order to explore how to tell stories through dance on a wider medium. In 2016, he graduated from University for the Creative Arts (UK) with BA Film Production and worked on various music videos and dance theatre pieces with companies such as Wayward Thread, Atom Theatre, A Man with a Hat, etc. Currently, Vladimir is based in London, researching for new screendance projects.

Mirrors
Mirrors
4:00, 2016
Emilia Izquierdo
United Kingdom

Mirrors (2016) is a loop video animation that refers to confusing or disorienting situations in which it is difficult to distinguish between truth and illusion or between competing versions of reality. Playing with spatial disorientation the piece refers to an indistinguishable spatial state – physical and mental – where the sense of reality is threatened. The piece addresses this state of entrapment and disorientation and the need to break out of it exploring how technology, social systems and personal relationships affect the way we see and understand the world.
No sound.

Director Bio
Emilia Izquierdo is Chilean/British. Lives and works. London UK. MFA, Slade school of Fine Art, London. MA Art and Politics at Goldsmiths University, London.

More Information
emiliaizquierdo.com

Saeta-The-Morning
Saeta: The Mourning
5:30, 2016
Rosamaria E. Kostic Cisneros
United Kingdom

“Saeta: The mourning” is a dance short film that takes the traditional religious song, the Saeta, sung during Spain’s Holy Week and brings it to a modern setting. The song is heard typically during a procession and is usually associated with death. The Flamenco movement vocabulary explores grief and longing and this film plays with this concept. Black is usually associated with mourning and the Spanish comb, the peineta, is important to the Saeta song and to Holy Week. In the film the peineta is juxtaposed by a modern outfit and is playing with the ideas of new ways of seeing and old ways of being. The film’s costuming and dancing pushes boundaries and Koko Zin’s camera work frames the movement and adds to the anxiety the choreography is playing with. David Ajiri’s editing is crisp and makes “Saeta: The mourning” an eerie and haunting dance film.

Director Bio
Rosamaria E. Kostic Cisneros is a professional dancer, Dance Historian and Critic, a Roma Scholar, a Flamenco historian and peace activist.

More Information
rosasencis.org

Frame + Form | Screen Dance Workshop
On Saturday, February 25 from 1:00 – 5:00 p.m, a Screen Dance workshop will be held at BMCM+AC at 56 Broadway. This is a hands-on video/movement workshop. Participants will create original movement, capture it on video, and then be involved in a live editing process. The result is a brand new piece that will be shown at the end of the workshop. Constance Humphries and Sara Baird of the MAP are facilitating. The workshop registration is limited to 10 people so sign up early.

Wenhua Shi – Water Walk

Wenhua Shi Water WalkMechanical Eye Microcinema Presents Wenhua Shi – Water Walk

Wenhua Shi is currently an Assistant Professor in the Department of Art at UMass Boston. Originally trained as a doctor in China, Wenhua departed from the medical field and began working in radio and TV in his hometown of Wuhan. He received his Bachelor of Arts and Bachelor of Fine Art in Film from the University of Colorado, Boulder. In 2009 he graduated with an MFA from Art Practice at the University of California at Berkeley.

His works have been screened or exhibited at Pacific Film Archive, Black Maria Film Festival, Smithsonian Freer Gallery of Art, and Arthur M. Sackler Gallery, The National Museum of Film, Photography and Television (UK), Experiments in Cinema, Albuquerque, Denver Contemporary Museum of Art, Beijing Film Academy, Berlin International Directors Lounge, The Jack Kerouac School of Naropa University, and dozens of international film festivals, including Rotterdam, Hamburg, Bradford, and Mexico City. West Bund 2013: a Biennale of Architecture and Contemporary art, Shanghai, Shenzhen & Hong Kong Bi-City Biennale of Urbanism, International Arte Laguna Prize, Finalists Exhibition, The Arsenale of Venice in Italy.

Wenhua Shi is a 2015 Fellow in Interdisciplinary Work from the New York Foundation for the Arts.

http://shiwenhua.net/

EVENTS:

What: Wenhua Shi Artist Talk
When: Friday, November 11, 2016, 5-6pm
Where: THE BLOCK off biltmore, 39 S Market St, Asheville
Details: Join us for a drink and discussion with multimedia artist, Wenhua Shi. Wenhua’s time based media work incorporates experimental techniques in film, video, animation, interactive installation, and live performance. He will be discussing his artistic practice.
Cost: $10 sliding scale donation – includes a beer or soft drink from THE BLOCK off biltmore

https://www.facebook.com/events/1811859275763494/

What: Water Walk – Video Work by Wenhua Shi
When: Friday, November 11, 2016, 7pm
Where: The Refinery, 207 Coxe Ave, Asheville
Details: 10 years of videos by Wenhua Shi – artist present for introduction and Q&A!
Cost: $5 suggested donation

https://www.facebook.com/events/185162355266376/

What: Projection Mapping with Wenhua Shi
When: Saturday, November 12, 2016 11am-3pm
Where: The Refinery, 207 Coxe Ave, Asheville
Details: Join visiting artist, Wenhua Shi, as he leads a projection mapping workshop!
Want to learn projection mapping (for your installation) but don’t know where to start? We will teach you! The workshop will show participants the essential design fundamentals of video projecting and mapping. Projection mapping is a technique of projecting animation/video onto a three dimensional surface. Participants will learn the basics of video mapping software.

This workshop is intended for anyone who wants to learn how to develop projection mapping projects for future events, art installations, and performances.
*Please bring a laptop if you have one you’d like to use for projection mapping!
Cost: $60 (sponsorships available for those with financial barriers to participation)
Registration: www.mechanicaleyecinema.org

https://www.facebook.com/events/1826909334209322/

This project was supported by the N.C. Arts Council, a division of the Department of Natural & Cultural Resources.

The MAP is proud to sponsor these events.

Artist Profile: Jordan Krutsch

~Interview by Constance Humphries/October 16, 2016

Jordan KrutschJordan Krutsch is an artist and designer residing in Cullowhee, North Carolina. Originally from Defiance, Ohio, Jordan graduated from Bowling Green State University, Bowling Green, Ohio in December of 2010 with his bachelor in fine arts 3-dimensional studies focusing primarily in sculpture with a secondary focus in glass. After graduating, Jordan took a job as the studio technician at East Carolina University’s School of art and design in the sculpture and wood departments. Currently, Jordan is a candidate in the Master of Fine Arts program at Western Carolina University.

Jordan’s exhibition, Absentwas shown as part of the WCU GRAD/REVOLVE series earlier this month. That show has been extended and is currently on view in the Orange Space at REVOLVE.

More information about Jordan and his work can be found at www.krutschworks.com

Below is an  interview with Jordan explaining his creative process and his thoughts on the role of art in society.


Why do you do what you do?

I feel very impulsive when I make my work but in my mind there is a constant sort-of planning happening. It’s kind of a strange dichotomy that can lead to missed connections.  I think this is why I have to make artwork.  Ideas tend to develop suddenly.  A spark of excitement about some random object I see, a question, a problem or even a convoluted solution to some mundane problem I’ve created for myself.  I need to make what I end up making so I can develop a catalog of my thoughts/observations and continue with that organization. My work ends up being how I tend to perceive myself interacting with things which interact with other things.

Jordan KrutschWhat does your process or workflow look like?

I try not to fall in to analysis paralysis with  projects.  Over-thinking a simple act and questioning spontaneity leaves me feeling dissatisfied with myself.  Sometimes I  create a problem then figure out the most exciting way to bring its solution to fruition.  Sometimes I sketch, pencil and paper or computer modeling but most often I get straight to building what I see in my mind.  If the first thing made isn’t what I saw inside or if that image has changed I move on to the second prototype.  I try not to consider anything completely finished since I can’t imagine filling everyone’s cup (let alone my own every time). Instead with each iteration of an idea-object there ends up another glass filled and another being emptied.  Always room for conversation and opportunity for semi-clarification.

Tell us about your background and how you came to pursue art as a profession.

I built my first time machine around 8 years old (there were prototypes before that but never a working model). My grandfather dropped off things that were broken from his shop and I’d sometimes fix them or combine them into other objects.  The aforementioned time machine worked well, not at traveling through time physically but at creating a moment in time that I travel back to constantly.  With each trip back my imagination and curiosity grows in strength from when I was a child.  Working in the field of art-making allows me to pursue all avenues of that curiosity.

Tell us what is integral to your work or process as a maker.

I enjoy being physical, it’s how I work through problems.  I use to write music and lyrics but it wasn’t until playing the tunes and singing the words that it felt right.  Reading and writing about my work is helpful and aids in understanding my understanding. Still, it’s not until I feel worked that work is made.

What role do you think art has in society?

From my experience I think art’s role is to inspire people to ask questions and make connections which lead to answers.  Not all connections lead to answers directly.  Ask enough questions and make enough connections and eventually something will make sense.

Guy Fawkes Dance Party – Fundraiser for the MAP

GUY FAWKES DANCE PARTY
*MAP FUNDRAISER*

Join us on the eve of Guy Fawkes Night to dance and raise money for the MAP’s 2017 programming.

Friday, November 4
8:30pm – Midnight
NYS3 The Meisner Actors Conservatory for the SE
2002 Riverside Dr. Studio 42-O
Asheville, NC 28804

Tickets: Pay what you want at the door: $5-$25

FEATURING: Gaul Plus (NYC), DJ Wey (NYC), Liquid Asset (Carrboro), Tann Jones (ATL), DJ Deeds (AVL), and more.

BAKE SALE: Guests are asked to donate individually-wrapped baked items with all proceeds going to MAP’s Fund for Artists. Baked goods with a media-theme and/or incorporating new technology will be given special honors. Sculptural baked goods are also encouraged.
 
VISUAL PROJECTIONS: will be provided by Asheville artist Geo Linx who has projected stimulating digital visuals at {Re}HAPPENING 2015 and Interlude 2016. Guests are also invited to BYOP (Bring your own projector.)

Getting to know MAP’s new Board Chair and Vice Chair

This summer the MAP board of directors voted unanimously to elect new officers to fill the role of Board Chair and Vice Chair. Constance Humphries is now serving as Board Chair and Alec Sturgis is Vice Chair. Like many MAP board members, both Humphries and Sturgis initially became involved with the Media Arts Project as participating artists in MAP’s programming.

 

Screen Shot 2016-10-11 at 9.58.32 AMConstance Humphries, a Butoh performer, video artist and digital media instructor at A-B Tech, was introduced to the MAP by way of {Re}HAPPENING 2013 and was invited to present her work as an Off the MAP artist the same year. Humphries moved to England soon after and upon her return to Asheville in 2015, she presented a compelling discussion about screendance – a genre that melds choreography and movement with video art to produce a new format in storytelling.

MAP: How did your experience in England influence your your role as an artist?
Humphries: My experience as an artist-in-residence at Experimental Studios in Newcastle, England, as well as my participation in exhibitions, screenings and workshops in the UK and Berlin helped me develop and focus my performance practice in an international context.

How did the experience of living in England influence your perspective on arts administration in Asheville – or the US in general?
As curator for performance at Abject Gallery in Newcastle, England I had the opportunity to work within and with arts organizations with similar concerns as the MAP: presenting quality arts programming, gaining funding and marketing to audiences. However, in the UK, there is simply more funding for programming because there is more general support for arts and culture.

How do you balance the role of artist, teacher and administrator?
Gratefully, my various roles overlap and compliment each other creating an integrated life style. And, I keep a careful calendar.

What are your goals for MAP in 2017?
I would like to see the MAP continue to present and support quality media arts programming and collaborate with other arts organizations in this mission. One project I am very excited about is the Screen Dance Festival coming up in March 2017.

How do you think MAP can be relevant to the Asheville community?
The MAP provides vital support for artists and presents unique programming with a specific focus on innovative approaches to technology, experiential formats and aesthetics.

Screen Shot 2016-10-11 at 10.01.50 AMAlec Sturgis became involved with MAP as an organizer and participating artist for INTERLUDE 2016. In addition to organizing two experimental music shows, Sturgis created a sound installation as part of his artist front, Cairn Desk. In 2014 Sturgis was a fundamental organizer in Asheville’s short-lived but highly regarded Apothecary – a space that featured experimental sound, art, movies, workshops and panel discussions (including MAP’s Copy/Right symposium on appropriation art.)

How do you think MAP can be most relevant to the Asheville community?
Sturgis: The Media Arts Project represents one of the things I love most about Asheville’s art community — it’s an organization propelled by collaboration among the Board of Directors and artists. Its smaller size allows MAP to work flexibly within the community. I think this very direct commitment to artists and to experimentation within our own organization will show the MAP to be increasingly relevant in Asheville’s art scene.

Do you have any goals for MAP in 2017?
I’m excited to see The MAP presenting and facilitating work more frequently and flexibly as we go into 2017 and as we plan for the future of the organization. From pop-ups, artist talks and mini-festivals, there is a lot of exciting programming in the works and my personal goal will be to increase the amount of communication and feedback between the MAP and the arts community through these programs.

How has your experience with Apothecary informed your organizational role with MAP?
While participating in the organization of Apothecary provided me with a lot of hands-on experience curating, hosting events, dealing with the logistics of presenting art, the most invaluable thing about that time was that it put me in contact with incredible artists and friends in Asheville and from all over the world. It’s because of this strong network of passionate, creative people that we were able to do really adventurous programming at Apothecary and that experience has given me confidence that Asheville both supports and really, needs avenues for presenting wild forms of art. Personally, this advocacy for deeply experimental art is what I hope to bring to the MAP.

Can you talk a little more about Cairn Desk?
I was recently up in Boston for the opening of a show at Industry Lab, curated by artist/writer Nora Khan (Rhizome, Eyebeam). My piece in the show featured digital prints, audio/literary installation and sculptures produced by myself and my partner at Cairn Desk, David Grubba this past April as part of INTERLUDE. The work explores themes of white masculinity and leisure culture through the lens of Long Beach ska culture and iconography.

emersion: Plato’s Allegory of the Cave

hairemersion Presents: Plato’s Allegory of the Cave, an interactive walk-through immersive theater installation, happens this weekend.

October 14th&15th
8pm (a limited number of people can be in the house at a time, so stagger arrival times between 8-9:30pm)
43 W. Chestnut St.
Asheville, NC 28801
$10 at the door

emersion is a series of walk through immersive theater performance art installations created by different artists in the rooms of artistic director Grayson Morris’s hundred year old home. Audience members will journey through the rooms of the house and have different visual, auditory, sensual, and emotional experiences in each room. emersion takes place three times a year and features different visual, sound, and performance artists each time.

Grayson Morris is a multi-disciplinary artist and performer who has been building small worlds in her house for the past decade. Now, in her emersion series, she invites the public in to join her!

more info at: graysonmorrisart.com
facebook event: https://www.facebook.com/events/335116360163443/

Contact: Grayson Morris
828-707-6261
morris.grayson@gmail.com

Artist and producer, Grayson Morris explains the history of emersion:

I put the down payment on this house in 2003 when I was a sophomore in college because I had gotten some inheritance from my grandmother and wanted to invest it responsibly. A craftsman style 5-bedroom in Montford, the house was built in 1906, which means it looked out over horse drawn carriages riding up Broadway Street. It came with wall to wall green shag carpeting. The bathrooms haven’t been renovated since the 70’s. An appraiser told me that I have a Freddy Kruger basement, which, at one point, I actually lived in in order to save money. For the past thirteen years I have had dozens of roommates and tenants–a veritable commune sometimes even featuring yard-dwellers. We used to call it Chestnut House or The Nut House and we had the best keg parties and Thanksgivings. Sometimes people ask me if it’s still a crazy community house and I say it’s mostly just me drinking tea alone staring at facebook. In my 30’s my standards for peace and cleanliness have risen and my roommates have decreased in number but I hold the same dream I have always held: for my house to be a fantastical place of creativity that brings people together.

high resI am a multi disciplinary artist but one of my main disciplines has always been fort art (or installation art if you want, but specifically fort-based installations). I never outgrew my childhood love of building small spaces to crawl inside of. Throughout the years of living at The Chestnut House I have built many different kinds of forts out of found materials and had small parties in them–usually with food and libations, often enough with wigs, pets, and puppets. I love all art forms but more than any others I love immersive theater and performance art. Last year I found myself finally living alone in the large downstairs part of my house and I thought, this is it: time to create my “art house”– time to actualize my dream of creating different interesting spaces in the rooms of my house and populating them with performers. And so in January 2016 I debuted my art house, emersion, at the Asheville Fringe Festival. I lost money and had a very small turnout due to snow, but in May we came back with a vengeance, selling out the show a week before opening night. In the process of creating emersion, I have to share so much of myself, my space, my stuff, my life, and I have to surrender to a scary goal: trying to produce my life’s work (a complicated show on a shoe string budget) without really knowing how it’s going to turn out. I have been overwhelmed with the outpouring of interest and support from my friends and acquaintances who have helped with the many many hours of work and brain power it takes to pull the show off. It is the hardest thing I have ever done, at times the bane of my existence, and also my very favorite thing in the world.

Off the MAP at REVOLVE with Victoria Bradbury

Victoria Bradbury Arrows
 – 
REVOLVE 
122 Riverside Dr Studio F
Asheville, NC 28801 usa (map)

Victoria BradburyVictoria Bradbury is a media artist weaving programming code, physical computing, body and object.  She is Assistant Professor of New Media at University of North Carolina Asheville. Victoria has this to say about her work:

“Seeking new modes of making with time, I came to programmatic artworks as a way out of, then back into, performativity.  At the heart of my practice is a hands-on, experimental process that regards both analog and digital with equal weight and balance.  Creating interactive installations led me to question how programmatic artworks that are void of a traditional stage-audience dichotomy can be considered performative.”

At Revolve, Victoria will present examples of art hacking events she has organized, including Thinking Digital Arts // Hack and show examples of her work, including Witch Pricker, an installation based upon a 1649 event in Newcastle-upon-Tyne, UK, in which a group of local residents were accused of witchcraft. Their trial-by-ordeal was to be pricked with a pin; those who bled were deemed human, those who did not bleed were found guilty and executed on the Town Moor. She will also present the Blue Boar installation, which activates a programmatic and sculptural interface and places a contemporary gallery visitor in the Salem witch trials in colonial Massachusetts.

More about Victoria

More about Revolve

MUX: Asheville Video Art Festival 2016

mux2Don’t miss MUX: Asheville Video Art Festival 2016, currently showing at The Refinery Creator Space in downtown Asheville. Hosted by the Asheville Area Arts Council, the show opened July 1st and runs through August 5th. Alessandra Gomez & Shira Service have curated an ambitious show of video works, installation and performance.

Read more about Shira Service in last month’s artist profile.

More about MUX from the press release:

MUX: (multiplexing): the sending of multiple streams or data signals over one single, complex transmission. From July 1st – August 6th, 2016, MUX: Asheville Video Art Festival will exhibit a broad range of video and new media art by an international body of artists in Downtown Asheville’s South Slope.

As a gathering of artists, theorists, curators, and educators, MUX intends to support the local and international video art communities by enabling artists to keep working and honoring them in what has already been created.

MUX: Asheville is a Video Art Festival created by video artists, art theorists, curators, & educators seeking to expand the field for new media and video art, easing the imbalance between artists and exhibition platforms.

Full program and more information: asheville-mux.com/festivalinfo

Meg Mulhearn – Artist Profile

Meg pics 1Meg Mulhearn is a classically trained violinist but her approach to music is far from it. She’s creating experimental compositions, pursuing artistic collaborations, plays some heavy metal on the side, and helped establish Girls Rock Asheville – a non-profit camp that empowers girls and trans youth to find their voices through music. So, she’s basically an all around bad-ass. Here’s a discussion with one of her collaborators, Sara Baird (choreographer), about where she is, what she’s been up to, and who she’s listening to these days.

Meg Mulhearn – MAP Artist Profile
with Sara Baird

How do you currently describe your work? I’m making the music that I would like to hear, which doesn’t necessarily fit into a genre.

What’s your background and main musical influences? How does this affect your compositional approach? My background is really all over the place- experimental, heavy music, classical. All of these influences come into play when I’m composing. Since I have a wide palette, and couldn’t care less about how my music is categorized, I’m able to take the music wherever it needs to go.

How do you create your work? And, how has your practice change over time? What themes are you pursuing? I’ve realized that productivity and creativity are different and I need to think of them differently. This realization has really affected the way I work now, and is definitely much different than the way that I used to work. I’ve realized that to be truly creative, I actually need down time. To be productive, I need to be able to access that space where I can be completely absorbed in the project in the moment. As far as themes, I’m currently obsessed with one-note rhythms within rhythms.

meg pics 2This spring, you premiered an incredible new piece at Interlude. Can you tell us about that project? The Void Ensemble came to being because I was fascinated with the concept of void- everything and nothing. 2014 and 2015 were spent touring much of the time, and I found myself gravitating toward playing with artists that shared a strong sense of humility. I asked these selected artists who had inhabited this liminal space with me to send me tracks, with little or no direction besides concept and key, based on two drones, and I mixed these tracks together. I gave it back to these artists to recreate live. The Void is essentially an exploration of the loss of ego- terrifying and beautiful and ultimately requiring submission.

You’ve been involved with Girls Rock Asheville. what can you tell us the camp, the mission of that organization and what they bring to our community? Girls Rock Asheville is such a wonderful organization, and I am honored to have been involved. The non-profit camp empowers girls and trans youth to find their voices through music, and campers form bands and perform in a showcase all in one week! No one is turned away due to lack of funds, and they provide the instruments. At camp, girls explore working collaboratively, self-defense, music herstory, attend lunchtime concerts by local artists, and receive instrument instruction. Campers leave the camp with enhanced confidence; they are our next leaders, and this kind of impact is immeasurable. It makes for happier and healthier girls, and is a wonderful way for the entire community to come together in support of our girls and the arts. Since I’ve been involved, It has inspired me to recommit to promoting and connecting with other female musicians.

Besides music and composition, what other type of art or artists do you most identify with? I’m a huge reader, and was a creative writing major in school, so writing is close to my heart. I also love puppets and creatures, handmade by humans! With the help of some very talented sewing and crafty friends, I was able to construct a creature for a music video a few years back, and I’d like to do more of that.

What artists, bands, or style of music are you listening to these days? Honestly I’m listening a lot to my friends, who are all over the map as far as styles, and who have been tremendously productive as of late!

meg pics 4What’s your favorite place to hear music in Asheville? The Mothlight is a great room, as well as the mainstay The Grey Eagle. I played a show with Elisa Faires the other day at Battlecat, and that was the sweetest, most relaxing show. Downtown Books and News and The Crow and Quill are great environments for more stripped-down shows.

What’s the last show that surprised you? Why? A few shows stand out: One was the Brewster house concert where I heard my friend (and Void Ensemble member) Kima do an incredibly realized sound painting- you really had the sense that he was articulating perfectly, that he knew exactly what he was trying to express and executing it flawlessly. It was stunning. Another was my friend Sarah Louise accompanied on drums by Thom Nguyen in Tashi’s basement- it was like being on the edge of a thunderstorm- so evocative of the natural world, which I know is a huge influence of hers.

More information about Meg Mulhearn: megmulhearn.com, divinecircles.bandcamp.com,  soundcloud.com/megmulhearn

Glitter Bomb:  The Fierce Films of Kelly Gallagher

~Jill Cockerham/June 22, 2016

gallagher_03Kelly Gallagher, experimental filmmaker, will be here in Asheville at Firestorm Books & Cafe on June 29 at 7:00 p.m.  Hosted by Mechanical Eye Microcinema and FierceFlix, she will be screening some of her short films, with a Q&A session held afterwards.  

Many of Kelly’s short films are handcrafted animations using a variety of media, such as drawings, collage, paper cutouts, and clay.  Visually stimulating and politically engaging, her films tell historically-driven stories with themes of radical and militant resistance, juxtaposed on patterned and glittery backgrounds.  They are textural and dimensional, layered, with a very analog, DIY aesthetic.  Her animations are materials-focused, with visibility of work evident.  

She explores such topics as white accomplices in resistance movements (in “From Ally to Accomplice”), the connection between slavery and mass incarceration (in “Pen Up the Pigs”), female filmmakers (in “The Herstory of the Female Filmmaker”), as well as personal narratives.

Her films and videos are available for viewing online for free through her website www.purpleriot.com, which she sees as a political act to encourage accessibility of experimental and radical art.  Kelly Gallagher has an MFA in Cinematic Arts from the University of Iowa, and is a professor of Media Arts at Antioch College.