The exhibition title, W(E)AVE, suggests the shared concerns that both artists explore in their work. Elana Herzog’s primary focus rests on the deconstruction of woven fabrics, such as found bedspreads and carpet, while Michael Schumacher’s dedication is to literally weaving together discrete audio events, comprised of sound waves, in order to emphasize the space in which they are presented.
I think the resulting environment created by Herzog and Schumacher will induce both a visceral and thoughtful response from the viewer/listener, where sound plays off visual pattern and materiality merges with the ethereal. The natural texture give me a feeling of melody and decaying.
Schumacher incorporated elements from these sounds with synthesized sounds, such as sine tones, and more traditional instrumentation, including piano, cello, and violin. Processed in his computer using Max/MSP software, the sound was organized into eleven discrete channels, in what Schumacher describes as a grid metaphor. Presented on eleven speakers dispersed throughout the space, the composition will evoke a “grid” or weave of audio experience unfolding through time.