“End Light,” a hybrid video and sculptural work by Collin Bradford that I have scored, is premiering at ArtPrize 2016 and will be featured in the Urban Institute for Contemporary Art in Grand Rapids, MI from now until Oct. 17th.
End Light, premiering at ArtPrize in 2016 at the Urban Institute for Contemporary Art, is a hybrid video and sculptural work. The video was shot in a massive automated library storage system, in which books are retrieved by a robot crane. A man who is captive in a room above this vault receives communication only via books that his son requests that the crane deliver to him. He finally escapes by riding the crane into the heart of the vault. Outside the video gallery is a sculpture structured by large stainless steel bins used in the storage vault. These bins are pierced by fluorescent tubes that serve as grow lights for ferns, a rhizomatic plant. These works explore a cultural shift, accelerated by globalization, technology, and the internet, from the Enlightenment project’s collection and hierarchical categorization, organization, and storage of knowledge via science, math, and reason to the rhizomatic dispersal of knowledge and the breaking down and escape from rigid hierarchies and organization.
UPDATE: “Undermining Cliffs” received the Arches Award at yesterday’s festival. Congratulations to everyone involved!
This Saturday a dance film edited by Shannon Vance, conceptualized by Kate Monson, performed by Kate Monson and Amy Jacobson, and scored by me will be shown at the Utah Dance Film Festival. It is part of the 3pm showing at the Provo City Library. Attendance is free, but tickets need to be reserved here. Trailer below along with a glimpse at the Utah Dance Film Festival’s preview of what’s to come.
Here it is!! The Utah Dance Film Festival 2015 Season!We’re excited to give you a little taste of what you get to see next weekend…
In 2011 I worked with director Chelsea Rebecca and a team of filmmakers in Ann Arbor on the production of the short film “Blue Yarn.” The music I wrote was a combination of solemn piano interludes and early 1960’s country tunes. In addition to composing an original score, I worked on set as a boom operator, and worked in post production as the sound designer and mixer.
I love working with film, and I love being asked to do things that I’ve never done before. I’ll get around to writing more country crooning songs some day, I’m sure. In the meantime, I’m grateful to have had the opportunity to collaborate with such diverse and talented artists and technicians.
Although the entire film isn’t available to the public, the closing credits, with music by yours truly, can be found below.