183:'s circuitous machines. Describing this organizational approach Stephen Bezan remarked: “the individual sounds manipulated by Parkins seem to interact and influence the outcome of the other, crafting a goal-oriented structure based on timbre, not harmony or rhythm. This approach transcends the inherent cacophony of the material and reveals a genuinely organic, even playful quality to her work.” Parkins has described her Rube Goldberg approach as a means for examining slippages between object and meaning. She observed: “An important conceptual thread running through these pieces is the discovery and expression of metaphors for the slippage and tension between object and meaning that occurs through the passage of time.” Describing her intentions, Parkins noted: “As both a sonic and visual artist, I try to build and layer idiosyncratic systems and structures that point to these shifts in meaning.”
176:, and amplified objects. Her method and sound were characterized by LA Weekly as: “The big, varied, confidently conceived abstractions Parkins yanks from her squeezebox, laptop, effects devices and maybe piano — cloudy and cranky one minute, surgically sharp the next.” With an unconventional approach to instruments, Parkins “fragments the instrument's traditional vocabulary and expands its capabilities with electronics and extended techniques.”
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Bieringa and Otto Ramstad from the BodyCartography Project. Parkins has been the recipient of various grants, awards, and residencies including
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192:The Kitchen
580:Categories
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379:2012-12-28
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315:References
299:Nels Cline
289:Many Rings
281:Joe Morris
216:Fred Frith
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156:and 1970s
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127:New York
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
