The installation consists of two videos, a recording of 7 different tuning forks layered into one composition is transmitted to an FM radio, amplified tuning forks that are a dissonant half step apart from each other.
Sympathetic Dissonance 1 2019
One video shows a figure repeatedly striking two tuning forks on a table in slow motion. The other video has images of landscapes slowing fading in and out of view.
Sympathetic Dissonance 2 2019
Sympathetic Dissonance considers how the idea and reality of encountering a landscape can be incongruous, using the complex experience of place and space to contrast the idea of an imaginary landscape and the felt experience of the material world.
Sympathetic Dissonance 3 2019
Statement

My work reflects on landscape and land ownership as a legal and political concept. The dream of an unknown landscape that could be measured and converted to capital has shaped our country. I’m interested in confronting our assumptions about land and space to see if it is possible to consider alternatives to our individualistic notion of land use. Using found imagery of an idealized landscape and challenging our understanding of space as a quantifiable entity, my practice problematizes our relationship to the landscape as an image and a physical place. The idea that we have created boundaries both visible and invisible to define our space is one we take for granted. Political boundaries have evolved as lines often divorced from the everyday experience of a place. By using sound and radio waves to define a boundary, the awareness of distance creates a sense of location. My work explores the embodied experience of space through the territorializing affect of sound. Boundaries can be relegated to the binary experience of political lines on a map or they can integrate the perceptual encounter of moving through the world. My installation and research practice creates new experiences of boundaries and landscape.