$5-15 sliding scale
Join us at Gallery 1412 for an eclectic bill of solo electronic sound performances, featuring visiting artist J Hamilton Isaacs (Denver), who produces meticulously detailed modular compositions that traverse the gap between neo-kosmische and truly zonked wiggery. Norm Chambers is a stalwart veteran of Seattle’s electronic music scene whose many projects and aliases (Panabrite, Jürgen Müller) serve as both a primer in the history of sound synthesis and a herald of movements to come. Jamondria Harris’ (Portland) work ranges from throbbing dark ambient constellations to buzzing organic polyrhythms. Sebastian Camens’ para-sentient algorithmic constructions render audible the synthetic logic of their unfolding.
J Hamilton Isaacs (formerly dugoutcanoe) has been active in the American experimental underground since 2005. Using a modular synthesizer to etch out cacophonic meta-musical collage, meditative drones, and phase music, his work focuses on the relationship between the instinctual pretense in listening and transcendental experience.
Emerging from a love of early electronics, concrete/tape music, soundtracks, and early new age, Norm Chambers creates worlds of sound that touch on many elements and moods, from spatially motivated ambient to aspects of minimalist composition and improvisation. Chambers utilizes an array of synthesizer equipment to achieve his sounds, in addition to field sounds and occasional acoustic elements.
Jamondria Harris is an interdisciplinary artist living in Portland, OR. They use words, sounds, wires, instruments, textiles, & what falls into their hands to engage with blackness, desire, spirit/source, decolonization, fairy tales, & body horror. They are a VONA Workshop Fellow and an artist-in-residence at S1, among other things. Their book of poetry and art, quaerere, is available from Magic Helicopter Press and their music can be found at https://meroitic.bandcamp.com/ and https://soundcloud.com/meroitic.
Sebastian Camens is a Dutch/Australian artist and designer based in Seattle. His sound leans into an oxymoronic minimal maximalism, utilizing stochastic processes to construct brutal patterns of sound, inflating into the entire frequency range. Camens’ work often transforms sound into near-tangible objects, with implied physical properties of weight and texture.