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Voided Cross (for Michael Heizer) [2018] instrumentation: saxophone, piano (dbl. accordion and synth), electric guitar, percussion [+ aux. pedal, objects, and amplification] duration: 45' commissioned by and written for: HYPERCUBE (Erin Rogers, Andrea Lodge, Jay Sorce, Chris Graham) first performances: March 24, 2019, Now Hear This Festival, Edmonton, AB, CANADA May 7, 2019, DiMenna Center, New York, NY About the Piece It
takes a very specific audience to like this
stupid primordial shit I do... I
like runic, Celtic, Druidic, cave painting,
ancient, preliterate, from a time back
when you were speaking to the lightning god,
the ice god, and the cold-rainwater god.” - Michael Heizer By all accounts complicated and not terribly sympathetic as a person, American sculptor and visual artist Michael Heizer nevertheless has created a body of work that has become a kind of aesthetic touchstone for me. From his early association with the Earth Art movement of the '60's, Heizer has codified a rigorously essentialized style that sets natural phenomena into tense balance with art-world formalisms. From a basic conceptual vocabulary of elemental shapes he generates extraordinarily visceral manifestations: circles, cubes, and cones carved into the ground as gaping pits; massive boulders “levitated” over pedestrian walkways in Los Angeles; or, as in “City,” his main project for the past 40+ years, a complex of concrete mounds and abstract shapes in the Nevada desert on the scale of Chichén Itzá. Heizer's work proposes a new aesthetic type (outside of the pre-modern world, anyway) – a kind of visual art for the reptile brain. Voided Cross seeks to inhabit a
similar aesthetic world in sound, taking “raw”
timbral and sonic objects from this particularly
versatile electro-acoustic instrumentation and
presenting them in blunt, direct, often
high-intensity realizations. The piece is
heavily amplified throughout, to generate an
extreme, quasi-sculptural sonic presence, an
ecstatic physicality of sound that saturates
the spaces of ear, room, and conscious
attention. The title
refers to a shape in ancient heraldic iconography,
and in this context has no intended religious
implications. For me it's certainly a political
piece, though, and the extremity of its expression
reflects an attempt to metabolize, transform, and
(in some admittedly limited sense) counter the
particularly toxic, violent, nihilistic elements
of contemporary American social and political
life.
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