The Chicago Artists Workshop Presents:
Justin Roberts and Anna Steinhoff
For nearly 20 years, Justin Roberts has been creating the soundtrack to families’ lives, helping kids navigate the joys and sorrows of growing up while allowing parents to remember their own childhoods. Along with his band, The Not Ready for Naptime Players, Justin has travelled the globe from Hong Kong to New York, and Miami to Seattle, performing at venues and festivals such as LEGO land, Ravinia, Lollapolooza and Austin City Limits festival. Justin has performed in front of millions of people on The Today Show, he’s been featured on Nick Jr. TV, and has received three GRAMMY nominations for his work.
On the other end of the musical spectrum, Anna Steinhoff specializes in baroque cello and viola da gamba, in addition to the modern cello. She is principal cellist of the Indianapolis Baroque Orchestra, and is a member of the Haymarket Opera Company, Third Coast Baroque, Wayward Sisters and Second City Musick.
Justin’s latest album, Wild Life, is his 14th album for families and his most personal project yet. Inspired by the birth of their first child, Justin wrote cello parts for Anna into almost every track. They were joined by an eclectic group of instrumentalists including pianist Lisa Kaplan (Eighth Blackbird), percussionist Gerald Dowd (Robbie Fulks), and vocalist Nora O’Connor (Flat Five, the Decemberists). Wild Life includes songs about anticipation, uncertainty, unconditional love and advice for a life well-lived, and aims to evoke the wonder of what poet Mary Oliver called this “one wild and precious life.”
The Chicago Artists Workshop Presents:
Xuan
Xuan is a new media artist, filmmaker, and pianist working at the intersection of music, visual art, and technology.
Her work focuses on the distinct interconnectivity between sound and image, and encompasses experimental animation, narrative documentary shorts, music videos, abstract scenography, interactive installations and real time audio-visual programming. With a background as a contemporary classical pianist, she actively develops innovative, cross-disciplinary projects that broaden the immersive scope of new music through technology.
She has collaborated with artists such as Glenn Kotche, Pierre Jodlowski, Michael Burritt, Gemma Peacocke, Annika Socolofsky, Third Coast Percussion, Nois Quartet, Parhelion Trio, Rubiks Collective, and Ensemble Garage, which have led to performances at the Metropolitan Museum of Art, the MCA Chicago, the Smithsonian Institution, University of South Carolina, Carnegie Mellon University, Constellation, SF Jazz, Le Poisson Rouge, and the Indie Grits Film Festival. Recent projects in interactive design have been exhibited at the ErsterErster Gallery in Berlin, DE, the ibug Urban Art Festival in Reinchenbach, DE, and Design Biennale 2019 in Zürich, CH.
Xuan is a graduate of the Eastman School of Music and has studied Media Spaces at the BTK University of Art and Design in Berlin.
The Chicago Artists Workshop Presents:
J. Ivy
J. Ivy is an Award Winning Performance Poet, Recording Artist, Song Writer, Author and Actor. Over the years his work has earned him a Peabody, Clio, Telly, and NAACP Image Award and he is widely known for being the “Poet” featured on Kanye West’s Grammy Winning Album, “The College Dropout,” on the classic song “Never Let Me Down,” along with Hip-Hop icon Jay-Z.
Early in his career Ivy was featured on three seasons of HBO’s Russell Simmons presents Def Poetry. From there his work has been featured everywhere from commercials to classrooms. From hosting and performing at conferences for Deepak Chopra to penning and performing a poem for the NBA Hall of Fame Legend Michael Jordan, J. Ivy has used his unique style of poetry to navigate the art form to arenas of all facets. He has poetically narrated, acted, and starred in two B.E.T. documentaries, “Muhammad Ali: The People’s Champ” and “Martin: The Legacy of a King,” which paid homage to two of the world’s most iconic voices. He has done voice-over work for dozens of commercials, starred as the spokesperson in AARP’s national ad, and can be heard on Coca-Cola’s new History Shakers commercial. The author of three books, his latest being “Dear Father: Breaking the Cycle of Pain,” has inspired many to pick up the pen and write their own Dear Father Letter in hopes to promote the Power of Forgiveness. After the world shut down due to Covid-19, in July of 2020, J. Ivy wrote and narrated Beyoncé’s Black Is King promo for the Return of the NBA.
Not only has he collaborated with countless musical artist, J.Ivy has recently released his 4th studio album, “Catching Dreams,” which is a beautiful blend of poetry and music. He also recently finished co-writing and co-producing, singer-song-writer, Tarrey Torae’s upcoming album, “Thanks for the Love,” and co-wrote the new song, “Freedom Ride” with Grammy Nominated House Music Legend, DJ Terry Hunter, which is also by Ms. Torae. He is the Poet Laureate for the famed visual artist Ernie Barnes’ Foundation.
A fun fact for many, is J. Ivy is the man who gave Emmy, Oscar, Grammy, and Tony Award-Winning singer, songwriter, actor, and activist John Stephens the stage name John Legend, as told by John himself on Oprah’s Next Chapter. In 2019 J. Ivy became the first Spoken Word Artist to hold a Chapter President’s seat (Chicago Chapter) in the history of the Recording Academy.
Chicago Artists Workshop Presents: Tarrey Torae
Chicago bred, but southern at heart, Tarrey Torae’s melodic presence springs from the crossroads of city living, southern geniality, essential womanhood, and passionate soul. No amateur to music, Tarrey is a 6x Apollo Winner and has appeared on 2 GRAMMY Award Winning Albums for her work with Kanye West on The College Drop Out and John Legend’s, Get Lifted.
This musical powerhouse has performed on stages with The Roots, Common, Talib Kweli, Patti Labelle and Stevie Wonder and has shared stages with the likes of Jill Scott, Mos Def, Nas, Usher, Anthony Hamilton, Faith Evans, Dave Chappelle, Lupe Fiasco, Cee Lo Green, Little Brother, El Debarge, Lyfe Jennings, Eric Roberson, India.Arie, Amel Larrieux, Erykah Badu, Miguel, Marsha Ambrosius, Roy Ayers, Snoop Dogg, the late great Gil‐Scott Heron, Will.I.Am, and many more.
Along with her audacious voice, her songwriting skills have been featured on Platinum & Gold records with Kanye West, John Legend, & Freeway. She’s also been on records with Talib Kweli, DMX, J. Ivy, Pete Rock, and The Last Poets, and has been commissioned to do work in the advertisement world for brands such as All State, General Mills, Ford, and Toyota.
Beyond singing and writing, her acting background has extended to theater, film and television, where she landed the lead role on the Off‐Broadway play “Me and My Shadow.” She also appeared on an episode of the Emmy Award Winning Drama Series “ER,” and in an independent comedy called “Not Another Black Film” (Amazon 2017). Recently she has taken on a new role in the upcoming film “Hal King” and is playing the character named Madame Quickly, which is set to release in the summer of 2018.
Some of Torae’s other endeavors include the release of her album, The Sweetest Survivor, her House Music singles, Marching On, Let It Go, and most recently, Freedom Ride. Freedom Ride was produced by Grammy Nominated House Legend, DJ Terry Hunter. Tarrey is currently preparing for the release of her upcoming R&B Soul album, as she continues to tour with the Iconic Hip-Hop Legend Slick Rick the Ruler, and International Award-winning Poet, J. Ivy.
Further, Tarrey works in the community with children and young adults giving self‐esteem and creative workshops. An example of this can be seen in her music video titled, Little Girl. With Tarrey Torae’s talent and creative fervor, she is bound to leave a timeless mark on music and art.
Chicago Artists Workshop Presents: Tom Lee
The Great Zodiac Animal Race
Growing up in Hawai’i, Tom Lee’s memories of Lunar New Year included narcissus blooms, tasty dim sum dishes and bowing to your elders before running off to your room to open your lucky red envelope with money in it! Tom Lee retells the classic Lunar New Year zodiac tale with shadow puppet animals inspired by Asian languages and pictograms. Suitable for all ages.
Stream begins 6pm CT/7pm ET/4pm PT.
A recorded version of the show will be available at the same link starting at 12:00am CT on 2/28 until 11:59pm CT on 3/1.
—
Born in Seoul, Korea and raised in Mililani, Hawai’i, Tom Lee is a director, designer and puppet artist based in New York & Chicago. Mr. Lee began his career at La MaMa Experimental Theater in New York with the encouragement of Ellen Stewart and, later, the St. Ann’s Warehouse Puppet Lab. His original puppet theater work includes Shank’s Mare (La MaMa, International Tours), Hoplite Diary (St. Ann’s, La MaMa), Tomte (Chicago International Puppet Theater Festival), Odysseus and Ajax (La MaMa) and Ko’olau (La MaMa/Hawai’i tour). Mr. Lee directed & designed puppetry for Pinocchio with the House Theater of Chicago, The Scarlet Ibis by Stefan Weisman and David Cote at the Prototype New Opera Festival and for the National Asian American Theatre Company, among others. Mr. Lee collaborated with director Stephen Earnhart on a multimedia staging of Haruki Murakami’s The Wind Up Bird Chronicle, for which he designed the scenery, puppetry and projected puppet miniatures at the Edinburgh International Festival in 2011 and the Singapore Arts Festival in 2012.
Mr. Lee has performed extensively as a puppeteer, including the Tony Award-winning War Horse at Lincoln Center Theater with puppetry by Handspring Puppet Company of South Africa. He is a principal puppeteer of Cio-Cio-san’s child in the late Anthony Minghella’s production of Madama Butterfly at the Metropolitan Opera with puppetry by Blind Summit Theatre. Tom directed the puppetry for the Giants Are Small production of Petrushka with the New York Philharmonic on tour at London’s Barbican Centre and was a puppeteer in Le Grand Macabre at Avery Fisher Hall directed by Doug Fitch and conducted by Alan Gilbert. He has performed in Dan Hurlin’s Obie-award winning puppet work Hiroshima Maiden and Disfarmer, on tour and at St. Ann’s Warehouse in Brooklyn. Tom recently performed in Lee Breuer’s epic puppet opera La Divina Caricatura at La MaMa.
Tom’s theater design work includes puppets, projections and sets for Lookingglass Theater, Yoshiko Chuma, Bora Yoon, Tom O’Horgan, Czechoslovak American Marionette Theatre, Paper Canoe Company, The Georgia Shakespeare Festival, Christopher Williams, The Swedish Marionette Cottage, The Stonington Opera House, Lone Wolf Tribe and Ellen Stewart, among others. In 2013, he designed the Korean pop musical The Lost Garden, directed by June-Young Soh and premiered at the Shanghai Mercedes Benz Arena in China.
In 2005, supported by the NEA/TCG Career Development Program for Designers, Tom spent two months studying traditional and contemporary puppetry throughout Japan. He studied with Koryu Nishikawa V, headmaster of Hachioji Kuruma Ningyō (cart puppet theatre company) with whom he has maintained an ongoing creative relationship. Tom Lee and Koryu Nishikawa V developed Shank’s Mare, a collaborative puppet theatre work using the kuruma ningyō style. Mr. Lee’s work has received support from The Jim Henson Foundation, The Japan Foundation NY, The TCG/Andrew W. Mellon In the Lab Program, The TCG/ITI Travel Grant Program, The Trust for Mutual Understanding, The Pennsylvania Council for the Arts, The NYC Department of Cultural Affairs, Japan Foundation, Asian Cultural Council, The Puppet Lab at St. Ann’s Warehouse and artist residences at High Concept Labs at Mana Contemporary Chicago, Sarah Lawrence College, The Rhodophi International Theater Laboratory (Bulgaria), The Ringling Museum of Art, The Jim Henson Carriage House and Hachioji Kuruma Ningyō.
Tom was a guest faculty member at Sarah Lawrence College for ten years and was co-director of the St. Ann’s Puppet Lab from 2009-2011. Eileen Blumenthal, author of Puppetry: A World History, wrote of Hoplite Diary, “An extraordinary piece of theater–huge in scope and filled with exquisite detail and emotion. Tom Lee is an exciting new talent.”
Chicago Artists Workshop Presents: Nick Zoulek
“…Zoulek’s performance, on saxophones in every range, is stunningly virtuosic, whatever the genre.” -The Wall Street Journal
A modern saxophonist of “pure mindfulness and talent” (PopMatters), Nick Zoulek’s focus on performance, collaboration, multimedia, and improvisation, has led to a diverse portfolio of distinctive artistic ventures, performing across France, the United Kingdom, Canada, and the United States.
As a soloist, Nick’s craft has been lauded as “wickedly contagious” (The Huffington Post) with the capacity to “[take] you to other worlds” (Milwaukee Magazine). The versatility Nick displays on the saxophone has been praised as “[b]eautiful harmonies [singing] in contrast to mysterious knockings and hums, and finally to ungodly, soul-shattering blasts” (Shepherd Express). Bringing together diverse musical landscapes, Nick’s performances traverse genre, bringing together classical, jazz, experimental, and rock idioms. He has garnered numerous awards as a classical soloist, and has been featured in concerti with the University of Wisconsin Whitewater Symphonic Wind Ensemble and Symphony Orchestra, the University of Wisconsin Eau Claire Wind Ensemble, and the Boulogne Ensemble du Vent. Committed to advancing the classical saxophone, Nick performs frequently as a visiting guest artist at universities across the United States, most recently as the featured artist of the Shockingly Modern Saxophone Festival and as the year-long Artist in Residence for the University of Wisconsin-Milwaukee SENSORIA series.
As an interdisciplinary artist, Nick is “a no-holds-barred engine of avant-garde exploration,” (Portland Press Herald). Currently, Nick is working on his second album project, Enter Branch, which will combine his performance and compositions with members of Bon Iver, Eighth Blackbird, Field Report, the Tontine Ensemble, ~nois saxophone quartet, and many more. He has served as music director with Wild Space Dance Company, and has scored and performed dance works with the Madison Ballet, HYPERlocal, and with members of Zenon and Like You Mean It dance companies. Nick often works with film and animation, experimenting with the expressive potential of visual media. His films center on self-composed scores, and have been screened at festivals in England, Canada, Serbia, Africa, and around the United States. Nick’s media works have garnered numerous awards, including Best Experimental Film from the London Modcon International Film Festival and Largo Film Festival. Nick’s music can be heard on Rushing Past Willow (INNOVA Records), which fuses all of facets of his work through self-composed pieces for alto, tenor, and bass saxophone.
Nick maintains an active profile researching the saxophone’s role in contemporary classical music, presenting on contemporary aesthetics and saxophone performance. He has served on faculty at the University of Wisconsin-Whitewater (sabbatical replacement), teaching saxophone and jazz studies courses. He holds a Doctor of Musical Arts degree in Contemporary Music Performance with a cognate in Digital Media from Bowling Green State University. Additionally, Nick holds a Master of Music Performance from BGSU, a Certificat des Études Musicales from the Conservatoire à Rayonnement Régionale de Boulogne-Billancourt, and a Bachelor of Music Performance with Magna Cum Laude honors from the University of Wisconsin-Whitewater. He has previously learned with Dr. John Sampen, Jean-Michel Goury, Dr. Matthew Sintchak, and Dr. Jon Amon.
Chicago Artists Workshop Presents
Susy Bielak & Fred Schmalz: The World Inside This One
Join us for an evening of music, poetry, image, and imagination. In this program, Eighth Blackbird founding members Matthew Duvall and Lisa Kaplan partner with artist/writers Susy Bielak and Fred Schmalz for a brand-new multimedia collaboration.
Equal parts meditation and evocation, The World Inside This One invites us to consider the past, present, and future lives of our homes and the relationships among the objects within them.
The evening includes a new long poem by Bielak and Schmalz, inspired by works of Ceslaw Milosz and Jean Valentine, whose poem inspired the title of this work.
Videos by Bielak and Schmalz present tableaus of domestic daily life and ritualistic acts in home and nature.
The musical score by Duvall and Kaplan—weaving through the entire piece—references works by Aphex Twin, John Cage, Emahoy Tsegué-Maryam Guèbrou, and Hiroshi Yoshimura, among others.
About the artists:
Susy Bielak and Fred Schmalz are artists and writers who frequently collaborate with each other, as well as with choreographers, engineers, historians, musicians, and others. Their ongoing collective, Balas & Wax, mines social histories, texts, and archives to create multimedia works that reflect the gravity and strangeness of daily life and contemporary cities.
Critic, poet, and translator Gabriela Jauregi wrote that Balas & Wax’s work expands:
“the practice of artmaking to embrace walks around the city, archival work, music, poetry, monument and anti-monument… often joined by multiple accomplices, who make the urban landscape theirs by questioning what’s there, by excavating what they encounter, thereby effectively transforming the city, rendering it strange (as in the Russian concept of ostranenie, or defamiliarization) through the process of paying attention to the inner lives of certain objects and places.
‘Most people don’t see what’s going on around them. That’s my principal message…For Godssake keep your eyes open. Notice what’s going on around you,’ William Burroughs counsels in The Third Mind. And indeed Balas & Wax elevate this act of noticing the everyday into an art form.”
Balas & Wax’s work has manifested in exhibitions, performances, and publications including EXPO CHICAGO, the Hyde Park Art Center, Lit & Luz Festival, Museo Tamayo, and Poetry Magazine.
Bielak’s work has been collected and exhibited widely, including by the International Print Center, San Diego Museum of Contemporary Art, and Walker Art Center. Her artwork and writing have been published in Art Papers and New American Paintings, among others. Bielak received her MFA from the University of California San Diego. She is a 2020-21 BOLT artist in residence at Chicago Artists Coalition.
Fred Schmalz’s debut poetry collection, Action in the Orchards (Nightboat Books), responds to encounters with dance, music, and visual art. He was poet-in-residence for the LA Philharmonic’s 2018 FluxConcert in its season-long fluxus festival. His recent writing has appeared in Conduit and Oversound and is forthcoming in The Canary. He currently co-curates the Poetry & Biscuits reading series.
Chicago Artists Workshop Presents
5th Wave collective
5th Wave Collective is a Chicago-based classical music ensemble dedicated to performing and promoting music by womxn and gender-nonconforming composers. Demonstrating their commitment to composers throughout classical music’s history, the Collective performs repertoire by composers such as Teresa Carreño, Clara Schumann, Florence Price, Augusta Read Thomas, and Aftab Darvishi. With a roster of over 110 musicians, 5th Wave curates concerts with configurations ranging from solo instruments to symphony orchestra, and performs in venues across Chicago, including recital halls, art galleries, community centers and restaurants. Learn more at 5thwavecollective.com, or by following 5th Wave on Facebook, Instagram, and YouTube at @5thWaveCollective.
Chicago Artists Workshop Presents
Half Gringa
Half Gringa (Isabel Olive) is joined by her guitarist Sam Cantor for duo arrangements of songs from her most recent release, Force to Reckon, as well as new, unreleased material.
Emerging from Chicago’s flourishing indie music scene, Half Gringa blends contemporary indie-rock and Latinx pop with midwestern folk. “When you grew up in the Midwest really into alternative rock, but heard a lot of country music in the supermarket,” offers Isabel Olive, the songwriter and multi-instrumentalist at the core of Half Gringa, when asked to place her music in a specific genre. “Or when your mom loved Bruce Springsteen and Maná and sometimes your brain starts playing them at the same time.” The name Half Gringa is both a tribute to and study of her legacy, stemming from a childhood term of endearment as “la Gringa” in her Venezuelan family and her bicultural experience growing up in the United States. Olive’s work seeks to narrate her tireless pursuit as a pupil of both her origins and her experiences.
Force to Reckon is the Chicago-based artist’s second full-length album, following her locally acclaimed debut, Gruñona, which landed on Chicago Magazine’s “10 Best Chicago Albums of 2017” and Chicago Reader’s “Best Chicago Albums of the Decade.” On the self-produced 9-song set, Olive is joined by her full-time band members — Nathan Bojko (drums), Sam Cantor (guitar), Andres Fonseca (bass), Lucy Little (violin) — as well as Ivan Pyzow on trumpet, with occasional harmonies and piano from fellow Chicago singer/songwriter Gia Margaret. But Force to Reckon has the intimacy of a solo project, and engaged listening feels like a glimpse into Olive’s journals of the last three years.
“I’m very goal-oriented, but I’m also a very anxious person,” she says. “And I always need to have a plan or a process and try to predict every outcome so I’m prepared with my next move. When I started writing these songs I was feeling emotionally upended, a bunch of things came at me that I did not predict, and instead of feeling and responding in the moment, I swallowed all of it. These songs feel like little eruptions as a result, they’re all trying to reach a point of catharsis, but you can’t force catharsis.”
Vocally forward and instrumentally full, the songs on Force to Reckon have a quality that feels personal, yet meant to be shared. Olive’s poetry background is prominently displayed, with carefully selected words used to craft narratives grounded in various different textures, and each part feels intentional and precise. It’s meticulously composed but not cautious. “I was trying to figure out how to express my own vulnerability, my love towards other people, in a way that felt like I was giving myself permission to do so, while accepting that loss and estrangement are inevitable,” she goes on to say.
Each song reaches a climactic peak in its own way and even slower tracks on the album capture something that feels expansive, both sonically and emotionally. “I don’t know your feelings by their first name,” Olive sings emphatically on “Afraid of Horses,” an apology punctuated by a pizzicato violin echo and soft harmonies from Gia Margaret. And although the record is steeped in heavy-hearted themes, Olive often dissects those subjects using tongue-in-cheek humor: “1991 was good to you and I,” the 28-year-old deadpans at the start of upbeat opener “1990,” which traces the anxieties of adulthood back to oft-forgotten childhood memories.
Elsewhere, on “Transitive Property,” Olive explores grief and loss, over a bed of bittersweet fingerpicked guitar, by expertly placing the abstract concepts into the context of everyday change rather than mortality. “I’ve realized that bereavement is about more than a person dying,” she explains. “It’s an absence that you can’t control.” After her grandmother passed away while Olive was on tour, she tried to bury her grief in productivity but eventually realized she needed to set aside time to process. On “Forty,” the album’s string-heavy closer, she finally allows herself long-overdue space to mourn.
Force to Reckon is, as the title suggests, an album with a powerful presence. Though deeply personal, Olive leaves listeners space to relate and experience their own catharsis. “None of the songs on this record resolve, really,” she explains. “Many end in the middle of a thought, because this record is about how much I’m still in the middle of my grieving process. Lines like ‘Time will tell if nothing else’ and ‘I will mourn you in advance, but I never really get the chance’ sound like hindsight, but they were more like predictions when I wrote them. I spend a lot of time looking away from things I don’t want to deal with, but I know they’re still there. And my eyes are getting tired, I guess.”
Chicago Artists Workshop Presents
Molly Joyce
Molly Joyce comes to the Chicago Artists Workshop to perform songs that “explore disability as a creative source, including those centered on my direct embodiment of disability as well as from Perspective, an ongoing communally-engaged project featuring disabled interviewees. The songs will be complemented with visual footage including open captions of the lyrics sung, as well as sound descriptions by Chicago-based sound artist Andy Slater, in order to emphasize access as aesthetic.”
Molly Joyce’s music has been described as “serene power” (New York Times), written to “superb effect” (The Wire), and “impassioned” (The Washington Post). Her work is primarily concerned with disability as a creative source. She has an impaired left hand from a previous car accident, and the primary vehicle in her pursuit is her electric vintage toy organ, an instrument she bought on eBay which suits her body and engages her disability on a compositional and performative level. Her creative projects have been presented at TEDxMidAtlantic, Bang on a Can Marathon, Danspace Project, Gaudeamus Muziekweek, National Gallery of Art, Classical:NEXT, National Sawdust, and featured in outlets such as Pitchfork, Red Bull Radio, and WNYC’s New Sounds. Molly is a graduate of The Juilliard School, Royal Conservatory in The Hague, Yale School of Music, alumnus of the YoungArts Foundation, and currently serves on the composition faculty at New York University Steinhardt.
Andy Slater is a Chicago-based media artist, sound designer, teaching artist, and disability advocate.
He is the founder of the Society of Visually Impaired Sound Artists and director of the Sound As Sight accessible field recording project.
Andy holds a Masters in Sound Arts and Industries from Northwestern University and a BFA from the School of the Art Institute of Chicago. He was a 3Arts/Bodies of Work fellow at the University of Illinois Chicago in 2018 and an Institutional Incubator resident at High Concept Labs 2016-2020. Last year Andy was acknowledged for his art by the New York Times in their article, “28 Ways To Learn About Disability Culture.”
Andy is a teaching artist with the Midwest Society for Acoustic Ecology and is a member of the Atlantic Center for the Arts’ Young Sound Seekers advisory board.
He has exhibited and performed at the Museum of Contemporary Art Chicago, the Contemporary Jewish Museum San Francisco, Ian Potter Museum of Art Melbourne, Critical Distance Toronto, Experimental Sound Studios Chicago, the Art Institute of Chicago, Flux Factory New York, and the City Gallery Wellington New Zealand.
Andy’s current work focuses on advocacy for accessible art and technology, Alt-Text for sound and image, documentary film, spacial audio for extended reality, and sound design for sci-fi film and video games. He has created a large catalog of compositions featuring the sounds of the blind body navigatingdifferemt acoustic spaces. These pieces include the bangs and swipes of his white cane and echo location clicks interrupting and disrupting natural and built environments. His recent album, Unseen Reheard (No Index records), epitomizes this tangent of his artistic practice.