Type: Exhibition

Directed by Lauren Bon and realized in collaboration with field recordist Ian Wellman and filmmaker Maurício Chades, The Great Vibration (2023) is an exploration of how percussive force transforms stagnant energies. Using analog field recordings captured during the building of a well, which involved hammering sixty-foot shoring panels into a section of the concretized Los Angeles River adjacent to the artist’s studio, the video both documents a construction process and conveys the magnitude of raw power involved in transforming the site. The result is an immersive soundscape that transitions from foreboding and violent to meditative and ecstatic.

Lauren Bon and Metabolic Studio

Lauren Bon, a Los Angeles–based environmental artist, is the driving force behind the Metabolic Studio, which focuses on developing self-sustaining and diversifying systems of exchange, including a unique sonic practice, that rejuvenate the ecological web. Since Not a Cornfield in 2005, Bon has been involved in transmission art, notably with locations along the Los Angeles River’s cyborg watershed. Her work highlights the role of vibration in activating living systems, exploring how sonic frequencies can impact ecological health.

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Metabolic Studio

For Bone meets blade, sonified calling out. who what will utter back (2023), Jeneen Frei Njootli “sonified” the process of making a traditional hunting instrument out of a caribou shoulder bone. With the use of a Dremel grinder and a single-beam headlamp, Frei Njootli modified the bone’s central ridge while contact microphones, distortion pedals, and an electric guitar amplifier magnified the sounds of their craftsmanship—that is, the instrument’s becoming.

Jeneen Frei Njootli

Working in their home territory of Old Crow, Yukon, Jeneen Frei Njootli is a two-spirit/queer artist whose practice engages sculpture, performance, music, textile design, and feral scholarship. Through public sound and performance works, they create intimate and embodied experiences related to ancestry, cultural heritage, and the land and its human and nonhuman inhabitants.

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Haines and Hinterding’s collaborative works invite viewers to contemplate how material and immaterial realms coincide. Telepathy is an anechoic chamber offering solitude and contemplation, where the body simultaneously functions as a primary oscillator and sensor. The windowless, wedge-shaped structure blocks out external sound and light waves via the hundreds of acoustic foam pyramids that line its interior. Inside the chamber, participants’ vibrations are converted into heat, enabling them to focus on their own bodily experiences.

David Haines and Joyce Hinterding

Hailing from the Blue Mountains of Australia, on Darug and Gundungurra country, David Haines and Joyce Hinterding are individually and together renowned for innovative explorations at the intersection of art, science, and technology. Hinterding’s work explores the natural world’s unseen forces; tapping into electromagnetic phenomena and frequencies, she engages with the invisible energies surrounding us to create sensory experiences. Haines engages photography, sculpture, video, and the olfactory as means to explore how hallucinatory states intersect with the physical environment. The duo has carved a distinctive niche in the art world by challenging conventional notions of perception and reality.

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Cosmic Fourier Fabric (2023), a knitted textile work by Channing Hansen, gives form to the artist’s research on cosmic microwave background radiation (CMBR), understood as the afterglow of the big bang, or the residual heat of creation. To determine the work’s composition, Hansen used NASA’s 3-D modeling data of CMBR from the Wilkinson Microwave Anisotropy Probe, the Planck probe, and the Fourier transform equation to seed an algorithm. Knitted into a pattern that corresponds to the algorithm, Cosmic Fourier Fabric models an infinite-dimensional topology: space-time as a literal fabric, or the big bang as canvas.

Channing Hansen

Channing Hansen is a polymath who draws inspiration from the inherent beauty he finds in biological processes, genetic patterns, chaos theory, fractals, and the Fibonacci sequence. His artworks take the form of vibrantly colored, framed textiles he handknits according to algorithmic plans generated by a custom software program. These intricate plans echo the precision of DNA sequencing, and Hansen’s translation of them into textiles mixes traditional artistic methods and craftsmanship with scientific principles foundational to our understanding of the world.

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