Orbless

Sunday, August 12, 2012

C.V.

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Collin McKelvey

Collin McKelvey is a multi-disciplinary artist based in Oakland CA. McKelvey’s work is rooted in the utilization of sound, particularly field recordings and electronics, to produce immersive environments that reflect on issues of time, place, and the way experiences are lived and remembered.

Education & Work Experience

-BA Studio Arts College of Charleston, Charleston SC 2005

-Media Technician at SFMOMA, San Francisco CA

Exhibitions

- Live Sound and Video Performance with John Davis for the release of "Episteme" in conjunction with "Somewhere in the Fold" curated by Luca Nino Antonucci The Popular Workshop, San Francisco CA December 6 2012

- Live Sound and Video performance, “Visible Horizons” San Francisco Arts Comission Gallery, San Francisco CA October 32012
- Stairwells Field Trip #2 "Live Architectural Feedback" Berkeley Art Museum September 23 2012

- Live Sound and Video Performance, Krowswork Gallery, Oakland CA August 24 2012

- “A Good Way Away” Three person show put on by Stairwells, San Francisco CA July 2012

- E.S.P. Live Taping and Performance, Liminal Space, Oakland CA, May 2012

- “Composition for Synthesizer Voice and Ice” Live Performance at The Berkeley Art Museum, Berkeley CA April 15 2012

- “Experimental Notations” Group Show, Royal Nonesuch Gallery, Oakland CA September 2011

- Index Festival: The Landscape, Process + Preservation of Technology and Art

Colo(u)r Sound Culture Mash Up, Millenium Film Workshop, New York, NY, August

2011

- Sight School Booth at the Andy Warhol Foundation, Southern Exposure, San Francisco CA, June 2011

-“Hands Like Feet” Group Show, Petaluma CA, June 2011

-“Series Circuit” online group show, Little Paper Planes June 2011

-“Healing Tones” performance, Royal Nonesuch Gallery, Oakland CA April 2011

-”Sound and Shape” Performance with Chris Duncan and Jason Michael Leggiere, Guerrero Gallery, San Francisco CA, March 2011

-Performance with Kelly Lynn Jones, The Smell, Los Angeles CA, January 2011

-”Re-Imagine, Re-Build, Repeat” Collaborative effort with Kelly Lynn Jones, Sight School Oakland CA, November 2011

-“Sights + Sounds” Performance, Noma Gallery, San Francisco CA, November 2010

-Performance, Baer Ridgway Exhibitions, San Francisco CA, October 2010

-“Lost Symbols” Group Show curated by Victoria Keddie, St. Cecilias Convent Space, Brooklyn, NY, October 2010

-“Reading Conventions” Performance with Kelly Lynn Jones, curated by Julie Cloutier, Adobe Books, San Francisco CA, September 2010

-Performance with Joshua Churchill and Paul Clipson, Sight School, Oakland CA, August 2010

-SFMOMA Staff Art Show, SFMOMA, San Francisco CA, 2010, 2009, 2008

-”Thought of you as my Mountaintop” Group show, Space Gallery, San Francisco CA, 2008

Publications

- Composition # 2 (For Paul Kos) 7” Record with custom lathe cut sleeve, Land and Sea Publishing, 2013

- "Epistime" Book and 7” record in collaboration with John Davis, Little Paper Planes, 2012

- "On the Horizon" Artist Book made in conjunction with "Visible Horizons" at the San Francisco Arts Commission Gallery, compiled by Christopher Duncan and Rhonda Holberton, 2012

- Sights + Sounds LPP Exhibit Series Volume 1 Artist book and cassette, Little Paper Planes, 2010

Sunday, July 1, 2012

E.S.P. TV

I was recently filmed by E.S.P. TV while they were in California. The live taping was hosted at Liminal Space. The full taping will be airing on television in NYC and then available for streaming on their website.

Friday, May 4, 2012

188.16 Hz

“188.16 Hz for Four Variations on a Sine Wave” (2011) is a composition based in planetary harmonics. Every object has a resonant frequency, including planets. Using the diameter of the Earth at its equator as the starting point, I have prepared a composition based around the resonant frequency derived from this. It is a sixteen-minute piece performed on tone generator, HP oscillator, Arrick Robotics voltage controlled oscillator, and guitar all resonating at or around 188.16 Hz. It is not precisely at 188.16 Hz except for the first few minutes because each sound source has differing waveforms, which generates secondary harmonics that slowly fade in and out of phase causing binaural beats.
This piece is my most recent exploration of resonant harmonics, and I have composed it as open ended. This piece can be performed by any number of sound sources, only limited by its ability to resonate at 188.16 Hz. At it’s most basic, the composition should be performed by two sound sources, which is the only limiting factor involved. I hope to continue with this series and explore more resonant frequencies and methods of utilization.

more information here:
- http://soundcloud.com/c-mck/188-16hz
- http://slaughteringdolphins.blogspot.com/2011/09/experimental-notations.html

Composition for Synthesizer, Voice and Ice

Orbless performing live at the Berkeley Art Museum April 15th 2012.
Debut performance of a new piece "Composition for Synthesizer, Voice and Ice" (2012) in 4.1 Surround with video response made by Kelly Lynn Jones.
The piece was created as a visual response to the Paul Kos piece "The Sound of Ice Melting" (1970) which was on display at the Berkeley Art Museum as part of the touring exhibition "State of Mind: New California Art since 1970".
This video was recorded during the debut performance by Kelly Lynn Jones. The sd card was formatted as Fat32 therefore the camera stopped recording once it his 4GB so the rest of the video shows still images from the performance. The audio was recorded by Aaron Harbour and mixed with the video by Collin McKelvey.
Orbless is the solo sonic output of Oakland based artist Collin McKelvey.
This was part of the L@te and E@rly series of performances at the Berkeley Art Museum and was curated by Land and Sea, an Oakland based fine arts publishing house and record label.