Born in 1972

EDUCATION
1991- B.A. Phi Beta Kappa and cum laude in Interdisciplinary Humanities
1995 Yale University, New Haven, CT
1999–2001 composition studies at Juilliard, NYC
2000 – 2001 private lessons in composition and acoustics with La Monte Young, NYC

SELECTED EXHIBITIONS

2008 Yuanfen New Media Art Space, Beijing, CH
2007 Office Portal, sound installation
SculptureCenter, Long Island City, NY
Scherzo, solo exhibition
Rensselaer Polytechnic Institute, Troy, NY
summer show, group exhibition
Marlborough Gallery, New York, NY
i/o, sound/performance installation (in collaboration with Phil Soltanoff)
Fusebox Festival, Austin, TX
2006 Noguchi Cycles, performance installation (commission)
Isamu Noguchi Museum, Long Island City, NY
emblem, outdoor public sound installation (commission)
Winter Olympics 2006, Torino, Italy
Cavities, group exhibition
Main Art Gallery, California State University Fullerton, CA
2005 Song of Transformation, solo exhibition
Bell Gallery / Brown University, Providence, RI
premonitions, solo exhibition
Paul Rodgers/9W Gallery, New York, NY
String Quartet No. 2, solo exhibition
JSP New Media Gallery, Seattle, WA
Strange Birds, British premiere of opera installation
New Moves Festival of Live Art, Glasgow, UK
2004 vessels, solo exhibition
Grand Central Art Center, Santa Ana, CA
Perfect Pitch, group exhibition
Islip Art Museum, East Islip, NY
music marking making music, group exhibition and curation
Paul Rodgers/9W, New York, NY
Suspension: Sonic Absorption, group exhibition
installation commissioned by the College Art Assocation
exhibited at Consolidated Works, Seattle, WA
2003 Setting the Tone, group exhibition
installation commissioned by Music At The Anthology
GAle GAte et al., Brooklyn, NY
republic, site-specific installation
St. Mark’s Church, New York, NY
2002 presence, evolution II (species III), solo exhibition
comissioned by Engine 27, New York, NY
2001 presence, site-specific installation
commissioned by Trinity Church Concerts, New York, NY
1999 Transitorium, site-specific installation
DUMBO Arts Festival, Brooklyn, NY

OTHER PERFORMANCE WORK

2007 Singapore Arts Festival, Singapore
biggerbetterfaster, sound and movement work in collaboration with Jo-Anne Lee
1996- GAle GAtes et. al
2003 Collaborated as composer with visual artist/theatre director
Michael Counts on seven large-scale performance installations that fused ele-
ments of experimental theatre, opera, installation, and electronic music. Re-
ceived commissioning grants from NYSCA, The Rockefeller Foundation, and the
NEA. Reviewed in Art Forum, Art In America, The New York Times, PAJ: A
Journal of Performance and Art.
The World (presented as part of the Whitney Museum at Altria
Performance on 42nd series, NYC 2003)
So Long Ago I Can’t Remember (NYC, 2001)
1839 (NYC, 1999)
Field of Mars, (NYC, 1997-8)
wine-blue-open-water (NYC, 1997)
I Dug a Pit (Hakushu, Japan, 1996)
To Sea (NYC, 1996)
2000 The Performing Garage
run of apocrypha for string quartet, electronics, light and projections
in collaboration with technical artist, Jeff Sugg
1997 Belgrade International Theatre Festival, Belgrade, Serbia
Invited to present to whom it may concern-- electronic score for music theatre/
dance piece, directed by Phil Soltanoff. Also presented in New York City at The
Kitchen.
1995 George Coates Performance Works, San Francisco
Composed music for multimedia production, Twisted Pairs, directed by George
Coates.

RESIDENCIES

2006/7 Rensselaer Polytechnic Institute iEAR residency, Troy, NY
2004 JSP Audio Arts Center, Seattle, WA
2004 Grand Central Art Center, Santa Ana, CA
2004 The Experimental Television Center, Owego, NY
2002 Engine 27, New York, New York
1996-2001 Artist Member. GAle GAtes et al, Brooklyn, NY
1996 Min Tanaka ArtFarm, Hakushu, Japan

SELECTED BIBLIOGRAPHY

Doug Norris, “Song of Transformation,” Art New England, December/January 2006.
Mark Brown, “An Elegy for the Modern Age,” Sunday Herald (Scotland), March 13, 2005.
Mike McGee et al., "vessels" (32 page exhibition catalog), Grand Central Art Center Press, 2005
Helen Harrison, “Perfect Pitch,” New York Times, April 25, 2004.
Christopher DeLaurenti, “Sonic Absorption,” The Stranger (Seattle), Vol. 13 No 27, March 18 –
24, 2004.
Amanda MacBlaine, “Ear & Eye: MATA breaks the sound barrier,” New York Press, Vol. 16 No.
22, May 28 – June 3, 2003.
Joe Diebes, “Notes On presence: A Music Installation for Phantom Chamber Orchestra,” PAJ: A
Journal of Performance and Art, Vol. 71, May, 2002 pp. 34-4
Collaborative Work with GAle GAtes:
Tom Breidenbach, “So Long Ago I Can’t Remember,” Artforum, September, 2001.
Neil Genzlinger, “It’s Strange and Unsettling Adrift Hellish Images,” The New York Times, April
20, 2001.
Douglas Davis, “Drama On the Move,” Art In America, September, 1998 pp. 67 – 69.
Peter Marks, “Carnival for the Senses In a Huge Warehouse,” The New York Times, December 27, 1997.