temperament series

temperament series are new live recordings of performances with glass instruments and electromagnets developed during our residencies at the Museum of Glass and Pilchuck Glass School.

images are on flickr.


@ Pilchuck Glass School – Artists in Residence, Summer 2014

museum of glass residency

maya.rouvelle museum of glass

maya.rouvelle museum of glass

museum of glass - maya.rouvelle

For our Museum of Glass residency our preparation included a material investigation of glass that resulted in an interest in its sonic and sculptural properties. We worked with combining fundamental glass forms (goblets and vessels) and electro-magnets (as a way of making sound), and making those forms resonate by striking and bowing them. A concept of hybridization, experimentation, improvisation and performance began to emerge.

We arrived at the museum with non-dimensional drawings based on the physiology of the inner ear that functioned as starting points for the development of sculptural and sound making objects that we developed and made with the hot shop team.

Informed by our research and recent developments in our collaborative practice we took the opportunity to engage the hot shop as studio space, installation space and performance space.

The results of our process included sculptural objects (two of which are now part of the museum’s permanent collection), drawings, an installation and sound performance.

The sculptural forms we made also functioned as acoustic resonators in our sound performance.

for the flickr set click here.

38 hours to spring

the music is a variation on the song of seikilos.

à la vitesse de ton souffle

more details for the work are on the vimeo page.

Influenced by our time walking in and around Paris, La Générale and the jardins de Versailles, à la vitesse de ton souffle is an installation in the form of a sequence of compositions and spaces made of sound, light, objects and movement, activated by visitors walking through the gallery at the speed of their own breathing. Each composition oscillates and slips between various binaries: formal and semiotic, interior and exterior, found and placed, organic and artificial, operand and operator. à la vitesse de ton souffle is a perambulation in a twilight heterotopia of green and pink noise.

Influencés par le temps passé à nous promener dans et autour de Paris, La Générale et les jardins de Versailles, à la vitesse de ton souffle est une installation qui prend forme dans l’ordre des compositions et des espaces créés par le son, la lumière, les objets et les mouvements, activés par les visiteurs qui se déplacent dans l’espace à la vitesse de leur respiration. Chaque assemblage oscille et glisse entre diverses dualités : formel et sémiotique, intérieur et extérieur, trouvé et placé, organique et artificiel, opérant et opérateur. à la vitesse de ton souffle est une pérambulation dans un crépuscule hétérotopique d’un bruit vert et rose.

au concert printemps flottant

maya.rouvelle paris

mayarouvelle palais de tokyo

au concert printemps flottant was shown at the palais de tokyo as part of concert hall, a large collaborative work included in nouvelle vagues.

au concert printemps flottant is a kinetic installation composed of organic and industrial materials, including a live tillandsia medusa, a custom LED grow light, a motor, and commercial gas vapor street lights, among other materials. a micro-controller regulates movement and changes in lighting intended to both sustain the tillandsia and reveal a sequence of 26 short variations in movement and light over 11 minutes. au concert printemps flottant was built and programmed on-site during the installation period for nouvelle vagues’ concert hall and was influenced by, and references, the themes of music, play and integration at the heart of this exhibit.

the materials include: tillandsia caput-medusa, electronics, plastic tubing, metal springs, custom electric light, vellum, wood, paint.

the dimensions of the work are approximately 10’x20’x15′.

for the flickr set click here.


quine was shown at our solo show at die Botschaft, and is named for logician/mathematician Willard Van Orman Quine. a quine is a computer program that takes no input and produces a copy of its own source code as its only output. our quine was made with the shadows of leaves and branches, and light (sunlight and streetlight) that played across the gallery wall behind it. the changes in light on quine’s surface are intended to evoke an active slippage where the edges of the work expand and contract with the changing ambient light of its environment. the piece is solar powered and composed of motors, circuitry, wire, tape, vellum, leaves, and LEDs.

still images here


mottetto was shown at our solo show at die Botschaft, and is an illuminated drawing in space composed of three similar robots whose LEDs are individually programmed to slowly oscillate between different hues of blue and green. with each oscillation the target hues change, slightly. these changes in color interval expand and contract the speed at which the LEDs change color. each of mottetto’s robots have subtle, distinguishing characteristics.

still images here


resonance was shown at our solo show at die Botschaft, and is a kinetic sound work composed of suspended tubing, wire, and electronics. a small motor bounces across the open ends of several small tubes at varying speeds, altering the pattern of sounds emanating from the work and vibrating the LED, which pulses with the same frequencies controlling the motor.

still images here

rounded binary

rounded binary was shown at our solo show at die Botschaft, and is a kinetic sound work that has two states: spinning and stationary. when spinning, the tape on the motor creates the illusion of a circle – but changes in speed and direction of the motor produce varying tones and a shadow reveals the tape attached to the shaft to be irregularly shaped. when the motor stops spinning the jagged shape of the tape and lack of sound/motion create the illusion of a static sculptural object.

still images here


inversi was shown at our solo show at die Botschaft, and is made of an algorithmically generated, 3-d printed object, micro-controllers,LEDs, and a pellegrino bottle. the code varies the frequency and occasionally blinks each LED. the effect of the simultaneous differing frequencies is that the piece appears to shimmer at different speeds across its surfaces, creating optical interference patters. the piece was situated on a marble mantel in the gallery and is a meditation on scale, mass production and the projection of code across three dimensions.

still images here.