Broadcast Thursday, April 8, 2021. 8:00 pm via ROULETTE
The acclaimed electro-acoustic composer and harpist Zeena Parkins returns to Roulette to present a concert in two parts. Ekstasis I (Season 2) is the beginning of a series of public presentations inspired by the work of Bay Area artist Jay DeFeo. For this performance Megan Schubert (voice/objects) joins Parkins (electric harp, bells + bowls/environment sounds, fixed and dislodged media), to navigate a topography of erasure by accumulation, revealing clues of the Sisyphean tasks of a working artist: layered, carved, scraped, incised, molded: the between to be collapsed.
“…Hopefully, even the most literal works transcend the definition of the objects from which they are derived.” — Jay DeFeo
In Lace_Mvt IV, Parkins (acoustic harp/objects/feedback) joins the trio Green Dome with Ryan Sawyer (drums, feedback) and Ryan Ross Smith (piano/electronics/feedback). In the piece, eight lace pieces serve as scores for this new addition to LACE, a long-term project that started in 2008.
“Lace exposes the knot and loop as central refrains, congealing time in the mise en abyme of thread…transposing the non-transposable.” — Jenn Joy
The acclaimed electro-acoustic composer and harpist Zeena Parkins returns to Roulette to present a concert in two parts. Ekstasis I (Season 2) is the beginning of a series of public presentations inspired by the work of Bay Area artist Jay DeFeo. For this performance Megan Schubert (voice/objects) joins Parkins (electric harp, bells + bowls/environment sounds, fixed and dislodged media), to navigate a topography of erasure by accumulation, revealing clues of the Sisyphean tasks of a working artist: layered, carved, scraped, incised, molded: the between to be collapsed.
“…Hopefully, even the most literal works transcend the definition of the objects from which they are derived.” — Jay DeFeo
In Lace_Mvt IV, Parkins (acoustic harp/objects/feedback) joins the trio Green Dome with Ryan Sawyer (drums, feedback) and Ryan Ross Smith (piano/electronics/feedback). In the piece, eight lace pieces serve as scores for this new addition to LACE, a long-term project that started in 2008.
“Lace exposes the knot and loop as central refrains, congealing time in the mise en abyme of thread…transposing the non-transposable.” — Jenn Joy
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