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Asgary's sound performances use her voice (the body), the environment, and the innate properties of everyday objects as an ether for direct communication in an otherwise disparate circumstance of image. Through improvisational performance, she explores materials and concepts used in her larger practice, such as water clocks, AM transmission, frequency interference, and language.
I was thinking of what my voice might sound like if it were to travel through my death and back 1,000 times. Around the time that I made this recording, I was thinking about distance and travel through time. Not necessarily about time travel, but how the experiences of different places have their own time structures. In doing so, I was driven by my contemplation of what life in a parallel could sound or feel like if it were to travel and meet another parallel, and with it, all the multitudes it carries, or, the disaporic imaginary.
Additional text and statements can be found via link.
Performance, March 5, 2023
Remembering to Remember: Experiments in Sound
Night 3 Performance: Sholeh Asgary + Nyokabi Kariuki
Video Excerpts: Kevin Brown
Portland Institute for Contemporary Art
Curated by Roya Amirsoleymani and Felisha Ledesma, Remembering to Remember: Experiments in Sound is a collection and collision of impressions and inquiries. It recognizes the rich histories and vibrant communities of sound art in Portland while offering a dynamic experience of new and recent work in experimental sound across forms by artists from around the world.
Performance, January 30, 2020
A 5-gallon hedpack jug of water fitted as a speculative water clock was continuously activated by audience members as they kept the "time" of the performance running. Each drip and pour was incorporated into the musical set through several contact microphones. The performance began with the first pour of water by the audience, and ended with the last.
mixing + mastering Thomas Dimuzio
Voice and breath thread through each other, sending signals that encode and activate bodily spaces. A love letter to myself where breath becomes an exoskeleton, I recorded this track using my voice, breath, and electroacoustic feedback. The piece is meant to be listened to in the same way it was made–intimately.