Resonant Frequency: “I” As Numerous Shifts
Visual artists Daniel Chase and Patricia Graham’s
installation, Resonant Frequency: “I” As Numerous
Shifts, departs from the pair’s last collaborative
exhibition (The Length of an Arc, the Closing of a
Loop), and foregoes connections of time and the
passing of a day to form an alignment between sight,
sound, and architecture. They are emphasizing and
literalizing the synesthetic melding of sound and
color to enrich each component and arrange a
composition that is built up from numerous
perspectival shifts. To construct this composition,
they are using both sculpture and analog animations,
while also imposing sprawling soundscapes. The use
of projection mapping software links pitch and decibel
level to the animation, and circularly, the sculptures
that reference the sound through mark. If color
establishes a context or a pattern in the surrounding
space, a chord, much like the particularities of a
memory, will appear in reprise.
Visual artists Daniel Chase and Patricia Graham’s
installation, Resonant Frequency: “I” As Numerous
Shifts, departs from the pair’s last collaborative
exhibition (The Length of an Arc, the Closing of a
Loop), and foregoes connections of time and the
passing of a day to form an alignment between sight,
sound, and architecture. They are emphasizing and
literalizing the synesthetic melding of sound and
color to enrich each component and arrange a
composition that is built up from numerous
perspectival shifts. To construct this composition,
they are using both sculpture and analog animations,
while also imposing sprawling soundscapes. The use
of projection mapping software links pitch and decibel
level to the animation, and circularly, the sculptures
that reference the sound through mark. If color
establishes a context or a pattern in the surrounding
space, a chord, much like the particularities of a
memory, will appear in reprise.
