VOLUMES//
THE SHAPES WE LEAVE BEHIND
Premiering March 2024
The Shapes We Leave Behind is a live performance and video installation made by musician and multimedia artist Anna Oxygen (aka Anna Huff), in collaboration with artist Fawn Krieger, who creates sculptures, props, and costumes. Working under the moniker VOLUMES, the two artists incorporate both digitized and tactile sculptural objects as well as sound and multimedia performance to explore how live bodies and voice engage with physical forms, from screens to stage and back again.
In this debut work, the artists have scanned Krieger’s ceramic sculptures as moveable 3D objects. They work with these virtual assets as both theater set and the characters who inhabit it. The effect is that Krieger’s original sculptural visions become rearranged and begin to generate sound and movement as a hyperdimensional animated presence. Through haunting operatic vocals, static and illusory sculptural components and costumes, and green-screen projections, The Shapes We Leave Behind contemplates digital presence and absence through meditations on mounds, shapes and transmutation, mortality, and light.
Anna Oxygen (aka Anna Huff) makes work that spans performance, sound, technology, mixed media, and interactivity. As a solo musician, she frequently performs a mix of improvised vocalizations and narrative electronic dance pieces. Her multimedia work connects body, voice, objects, and ritual to reveal social and technological structures that tie individuals to communities. She is a founding member of the media performance collective Cloud Eye Control, which creates work addressing speculative futures and the impact of technology on the human psyche. She has performed at venues such as the San Francisco Museum of Modern Art, MOMA PS1, the Festival A Mil in Chile, and The New Museum in New York City, among others. She is currently an assistant professor of Digital Art at Hamilton College.
Fawn Krieger is a New York City-based artist whose multi-genre work examines how memory, rupture, and transference can serve as a way toward recovery and reimagination. The tactility of her work and her penchant for compressing the scale of objects point to a collision of private and public, where intimate moments also serve as sites for communion and collectivity. Her work has been exhibited at The Kitchen, Rose Art Museum at Brandeis University, Portland Institute for Contemporary Art, and Soloway Gallery, and has been featured in The New York Times, Artforum, Art in America, Flash Art, and BOMB. She is a 2019 Louis Comfort Tiffany Foundation Biennial Award Fellow. She serves as program director for the Keith Haring Foundation and adjunct instructor in Sculpture at The Cooper Union School of Art.
*This project is made possible, in part, with funds from the Media Arts Assistance
Fund, a regrant partnership of NYSCA and Wave Farm, with the support of the
Office of the Governor and the New York State Legislature.
wait for it...
In this debut work, the artists have scanned Krieger’s ceramic sculptures as moveable 3D objects. They work with these virtual assets as both theater set and the characters who inhabit it. The effect is that Krieger’s original sculptural visions become rearranged and begin to generate sound and movement as a hyperdimensional animated presence. Through haunting operatic vocals, static and illusory sculptural components and costumes, and green-screen projections, The Shapes We Leave Behind contemplates digital presence and absence through meditations on mounds, shapes and transmutation, mortality, and light.
Anna Oxygen (aka Anna Huff) makes work that spans performance, sound, technology, mixed media, and interactivity. As a solo musician, she frequently performs a mix of improvised vocalizations and narrative electronic dance pieces. Her multimedia work connects body, voice, objects, and ritual to reveal social and technological structures that tie individuals to communities. She is a founding member of the media performance collective Cloud Eye Control, which creates work addressing speculative futures and the impact of technology on the human psyche. She has performed at venues such as the San Francisco Museum of Modern Art, MOMA PS1, the Festival A Mil in Chile, and The New Museum in New York City, among others. She is currently an assistant professor of Digital Art at Hamilton College.
Fawn Krieger is a New York City-based artist whose multi-genre work examines how memory, rupture, and transference can serve as a way toward recovery and reimagination. The tactility of her work and her penchant for compressing the scale of objects point to a collision of private and public, where intimate moments also serve as sites for communion and collectivity. Her work has been exhibited at The Kitchen, Rose Art Museum at Brandeis University, Portland Institute for Contemporary Art, and Soloway Gallery, and has been featured in The New York Times, Artforum, Art in America, Flash Art, and BOMB. She is a 2019 Louis Comfort Tiffany Foundation Biennial Award Fellow. She serves as program director for the Keith Haring Foundation and adjunct instructor in Sculpture at The Cooper Union School of Art.
*This project is made possible, in part, with funds from the Media Arts Assistance
Fund, a regrant partnership of NYSCA and Wave Farm, with the support of the
Office of the Governor and the New York State Legislature.
CONTACT
for booking inquirieswait for it...
LINKS BELOW TO PREVIOUS SIMILAR WORK FOR CONTEXT
How We Touch the Light/ Screen View: click image
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How We Touch the Light/ Screen View: click image
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