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Sumi sound printmaking is a process I’ve been exploring since 2020; it coheres a lot of my embodied ideas about sound.

VIDEOGRAPHY • EDITING—Cameron Kincheloe
DIRECTION • NARRATION—Nelly Kate
PRODUCTION SUPPORT—Lauren Faria
SPECIAL THANKS to En Henry, Declan Knight, and Padma Rajendren [and also Cheryl Oppenheim and Christin Ripley]

TRANSCRIPT: Suminagashi is a Japanese marbling technique of floating ink on the surface of water and alternating it with a resist made from soapberries. This creates concentric circles that are transferred onto the surface of paper. // In the traditional Japanese form, you move the ink around with combs or straws to create new patterns. I learned this technique from Padma Rajendren, and I got really excited to keep working with it. // Because I’m late-d/Deaf, I’m always curious about translations of sound. So I started using sound vibration to create standing waves and transfer those onto paper.

Made possible by Cranbrook Academy of Art, Anderson Ranch Art Center, Wedding Cake House, Dirt Palace. Filmed at Vernon Street Studios, Somerville, MA. Song by Kelly Lee Owens • Rise from Dreamstate (2024) // dh2
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Alt-Text: A vessel is filled with water before a demonstration of suminagashi marbling. Vibrations in the water appear and paper is laid down onto it to capture the waveforms made visible with the ink on its surface. A series of five sumi sound prints blink on the screen before the credits appear.

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

Into the Ground, Into the Body. Egleston Square Library, 2024. 55-gallon steel barrels, recycled HDPE, wood, stainless steel, electronics, and water. Photographs by Cameron Kincheloe.

A somatic experience for the public to engage with sound across the senses through visualizations and vibration. Visitors are invited to activate sonic frequencies that resonate through the back of a bench and generate waveforms in a water fountain. This project uses inaudible frequencies as an alternative modality for restoration and healing while simultaneously decentering hearing experience.

This project’s been bursting at the seams of my heart and my studio for the past year. It’s taken every ounce of my energy and attention to bring it into the world. Justin Looper and I were hustling right up until the moment we opened, which was not ideal. But we had the chance to witness the first two people experiencing the installation and we were both washed over with joy.

I wouldn’t do this work if I didn’t believe that art has the capacity to transcend the minutiae of our lives and connect us through shared experience in ways nothing else can. This project came from months of intensive learning and resources through the Boston Public Art Triennial Accelerator Program and a massive amount of support from folks in and beyond our community. The opening especially could not have conjured this level of magic without the care and coordination of Olivia Reinebach and our access team.

1: Spontaneous collective moment
2: Fountain tray with Faraday waves
3: Creative team w/ Patrick McCarthy
4: Michael, Charlo, and Kyle sitting on the bench together
5: Youth experiencing vibrations
6: Close-up of two of the steel barrels
7: Luis + neighbor experience the bench
8: Patrick on clapping in ASL
9: C Ledford, interpreting ASL beside NK
10: NK tired but content.

[Alt-text Embedded]

#somatics #sound #DeafGain #DeafPower #SoundInstallation

~~~~~”…derelict in uncharted space…” Chunky Move, Melbourne, Australia. OCT 2023. 📷 Gianna Rizzo
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A chance encounter with Fayen d’Evie bloomed into a collaboration when she and Benjamin Hancock developed an homage to a series of Star Trek audio-described radio plays from 1974. I contributed my spatial sound work blended with my videos of Georgina Kleege’s movement and footage taken by Rebecca Bracewell during their recording session at Parke’s Observatory.
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~~~~~”…derelict in uncharted space…” premiered at Melbourne Fringe Festival supported by a Radical Access Commission. I cannot begin to describe the talent, sincerity, and compassion of this team. Catch documentation and futures at accesslab.world
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Big love to: Fayen d’Evie, Benjamin Hancock, Georgina Kleege, Jon Tjhia, Lloyd Mst, Rebecca Bracewell, Alex Craig, Andy Slater, Justin Looper, Charles Gushue, Willa Piro, Luke D. King, Zeno d’Evie, Will Renton, and the team at Chunky Move.
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+ special thanks to: MASARY Studios, Collective Futures Fund, Otion Front Studio, and Lizzie Donelan.
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[Alt-Text Embedded]
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#access #inclusivedesign #performance #captions #deafpower

🌟 PERFORMANCE THIS SATURDAY 🌟

While preparing for a talk presented as part of our ‘Other Body Knowledge’ programme on art and ableism, artist Fayen d’Evie unearthed a 1930 speech by William Jones, Inspector General for the Insane in Victoria, promoting eugenics. After moving last year into the former Kew Asylum for Lunatics, d’Evie began to feel her way through the language of the Victorian eugenicists, their ‘progressive’ politics, and the early history of asylums in Victoria. She invited a temporary, disability-led collective of artists, writers, performers, designers and architects from so-called Australia, the US and the UK to gather. Together, the Language of Lunacy (LoL) collective have been reimagining an asylum as a place where people who refuse normalcy can individually and collectively hallucinate, perform, and construct temporary communities within which to live, dream, luxuriate in rest, and co-create.

Through performances and a creative captioning workshop, Fayen and fellow LoL artists Jon Tjhia and Nelly Kate will share a few loose threads from LoL’s recent investigation of the fortnightly lunatic balls at the Kew Asylum. Within a provisional architecture featuring a new textile work by Chelsea Clarke, and paintings by Luke D King, Fayen and Jon will introduce a citational performance lecture, enfolding inter-sensorial contributions from some of the LoL collective: Joseph Rizzo Naudi, Poppy Levinson, Zena Cumpston, Adam Deusien, Justin Looper, Hen Vaughan, Ebony Wightman, Jenny Hector, Jordan Valageorgiou and Liam Benson.

This event is presented in collaboration with La Trobe Art Institute. It arises from a creative exchange hosted by Access Lab and Library, MIT Spatial Sound Lab and We Are Studios, supported by an Arts House Warehouse Residency, City of Melbourne Arts Grants and Creative Australia 💟

________________

EVENT DETAILS:
Sat 8th November
1 - 4.30pm

Free event ✨️ RSVP now via link in bio!

For any access requirements please contact beatrice@kingsartistrun.org.au

🍻 drinks kindly by @heapsnormal and @littlebrunswickwineco

📸: @infojewels

________________

@fkxde
ecstatic.magic
@infojewels
@latrobe_ai
@cityofmelbourne

🌟 PERFORMANCE THIS SATURDAY 🌟

While preparing for a talk presented as part of our ‘Other Body Knowledge’ programme on art and ableism, artist Fayen d’Evie unearthed a 1930 speech by William Jones, Inspector General for the Insane in Victoria, promoting eugenics. After moving last year into the former Kew Asylum for Lunatics, d’Evie began to feel her way through the language of the Victorian eugenicists, their ‘progressive’ politics, and the early history of asylums in Victoria. She invited a temporary, disability-led collective of artists, writers, performers, designers and architects from so-called Australia, the US and the UK to gather. Together, the Language of Lunacy (LoL) collective have been reimagining an asylum as a place where people who refuse normalcy can individually and collectively hallucinate, perform, and construct temporary communities within which to live, dream, luxuriate in rest, and co-create.

Through performances and a creative captioning workshop, Fayen and fellow LoL artists Jon Tjhia and Nelly Kate will share a few loose threads from LoL’s recent investigation of the fortnightly lunatic balls at the Kew Asylum. Within a provisional architecture featuring a new textile work by Chelsea Clarke, and paintings by Luke D King, Fayen and Jon will introduce a citational performance lecture, enfolding inter-sensorial contributions from some of the LoL collective: Joseph Rizzo Naudi, Poppy Levinson, Zena Cumpston, Adam Deusien, Justin Looper, Hen Vaughan, Ebony Wightman, Jenny Hector, Jordan Valageorgiou and Liam Benson.

This event is presented in collaboration with La Trobe Art Institute. It arises from a creative exchange hosted by Access Lab and Library, MIT Spatial Sound Lab and We Are Studios, supported by an Arts House Warehouse Residency, City of Melbourne Arts Grants and Creative Australia 💟

________________

EVENT DETAILS:
Sat 8th November
1 - 4.30pm

Free event ✨️ RSVP now via link in bio!

For any access requirements please contact beatrice@kingsartistrun.org.au

🍻 drinks kindly by @heapsnormal and @littlebrunswickwineco

📸: @infojewels

________________

@fkxde
ecstatic.magic
@infojewels
@latrobe_ai
@cityofmelbourne

After moving last year into an apartment within the former Kew Asylum for Lunatics, artist Fayen d’Evie began to feel her way through the early history of asylums in Victoria, and the language and ‘progressive’ politics of the Victorian eugenicists.

She invited a temporary, disability-led collective of artists, writers, performers, designers and architects from so-called Australia, the US and the UK to gather. Together, the Language of Lunacy (LoL) collective have been reimagining an asylum as a place where people who refuse normalcy can individually and collectively hallucinate, perform, and construct temporary communities within which to live, dream, luxuriate in rest, and co-create.

Through performances and a creative captioning workshop, Fayen and fellow LoL artists Jon Tjhia and Nelly Kate (Boston) will share a few loose threads from LoL’s recent investigation of the fortnightly lunatic balls at the Kew Asylum. Nelly Kate will lead a public workshop, experimenting with methods for roving captions; then close out the afternoon with a sound performance with prepared tape recordings from in and around Kew Asylum.

1 - 4.30pm
Sat 8th November
KINGS artist run
69 Capel St., West Melbourne
Free, but bookings essential via the link in our bio

This event is presented at Kings ARI in collaboration with La Trobe Art Institute. It accompanies and extends the exhibition ‘Healing: Art and Institutional Care’, on view at LaTrobe Art Institute, Bendigo, until Nov 9. It arises from a creative exchange hosted by Access Lab and Library, MIT Spatial Sound Lab and We Are Studios, supported by an Arts House Warehouse Residency, City of Melbourne Arts Grants and Creative Australia.

For any access requirements please get in touch with
beatrice@kingsartistrun.org.au
drinks kindly by @heapsnormaland @littlebrunswickwineco

Photos: Jon Tjhia

@creative.australia @artshouse @wearestudiosorg @accesslabandlibrary @cityofmelbourne

Image descriptions in alt text

After moving last year into an apartment within the former Kew Asylum for Lunatics, artist Fayen d’Evie began to feel her way through the early history of asylums in Victoria, and the language and ‘progressive’ politics of the Victorian eugenicists.

She invited a temporary, disability-led collective of artists, writers, performers, designers and architects from so-called Australia, the US and the UK to gather. Together, the Language of Lunacy (LoL) collective have been reimagining an asylum as a place where people who refuse normalcy can individually and collectively hallucinate, perform, and construct temporary communities within which to live, dream, luxuriate in rest, and co-create.

Through performances and a creative captioning workshop, Fayen and fellow LoL artists Jon Tjhia and Nelly Kate (Boston) will share a few loose threads from LoL’s recent investigation of the fortnightly lunatic balls at the Kew Asylum. Nelly Kate will lead a public workshop, experimenting with methods for roving captions; then close out the afternoon with a sound performance with prepared tape recordings from in and around Kew Asylum.

1 - 4.30pm
Sat 8th November
KINGS artist run
69 Capel St., West Melbourne
Free, but bookings essential via the link in our bio

This event is presented at Kings ARI in collaboration with La Trobe Art Institute. It accompanies and extends the exhibition ‘Healing: Art and Institutional Care’, on view at LaTrobe Art Institute, Bendigo, until Nov 9. It arises from a creative exchange hosted by Access Lab and Library, MIT Spatial Sound Lab and We Are Studios, supported by an Arts House Warehouse Residency, City of Melbourne Arts Grants and Creative Australia.

For any access requirements please get in touch with
beatrice@kingsartistrun.org.au
drinks kindly by @heapsnormaland @littlebrunswickwineco

Photos: Jon Tjhia

@creative.australia @artshouse @wearestudiosorg @accesslabandlibrary @cityofmelbourne

Image descriptions in alt text

Alt Text in the Archives. Spring 2025. 
Northeastern University, Boston, MA.
•
From fall 2023 to spring 2025, I led seminars in ‘Media Art, Culture, and Social Justice,’ a class I co-instructed with Sarah Kanouse.

Earlier this year, students were assigned a single image from two collections in Northeastern’s archives—the Asian American Resource Workshop and the Chinese Progressive Association. We researched the image from within the archive to contextualize its history, and learned about the distinction between image captions, alt text, and image description. Through this process, we connected with the histories of people who have meaningfully shaped the city of Boston, representing their stories with accuracy and care while exploring our own voices in the more subjective work of writing descriptions.
•
Archivist: Molly Brown
Archive Assistant: Blake McGee
Motion Graphics & AD Narration: Nadia Youssef
Web Design & AD Narration: April Qian
•
#alt-text #captions #mediaart #asianamericanresourceworkshop #chineseprogressiveassociation #archives

ID: A 37-second video walkthrough of a website, alttextarchive.com opens with a horizontal scroll of image descriptions. The background is black and the text is in a white mono font. There’s a coral red “enter” button at the bottom right corner of the screen, a cursor clicks it to enter the site. A grid of black tiles appears with image descriptions in white san serif text. As the cursor hovers over each tile, the text slowly fades away and the image described by the text crossfades onto the screen. When the cursor clicks on an image, an enlarged version of it emerges, accompanied by an audio recording of the ID, the name of the student, their image description, their reflection, and sources used in their research.

terrestrial radio x Lyric Sullivan. Festival Henge at MIT List Center, APR 2025.
•
In the spring, I re-worked this piece to present on eight screens arranged in a ‘henge’ for the MIT Arts Festival. It wasn’t a super-legible expression, but I learned a lot about how I’d like to continue working with text through the process of preparing for this situation and scale. Many thanks to Gearóid Dolan for including me and to Justin Looper & Supreetha Krishnan for their technical support.
•
#mitartsfestival #mitlistarts #festivalhenge

ALT TEXT EMBEDDED

Tastes Like Music : Explorations in intersensory poetry and collective authorship. JUN 2025. 
University of Richmond, VA.
•
A few weeks ago, I returned to RVA to offer this workshop that combines somatic exercises with constrained and ekphrastic writing prompts to create a series of sensory translations.
•
1: Projection of collectively-written caption of sounds in the woods projected onto a maple leaf, ‘CHRIP CHIRP WHURRRRR SOUNDS LIKE WIND’
2: Participants prepare projections
3: Projection—SHIMMERING LEMON DROPS
4: Participants practice deep listening
5: Projection—VERTICAL COMPRESSIONS OF WHITE NOISE
6: Participants edit captions together
7: Projection—WATERFALLS SPINNING ENERGY IN THE DISTANCE
•
#collectiveauthorship #captions
#projection #deeplistening #somatics

ALT TEXT EMBEDDED

Tastes Like Music : Explorations in intersensory poetry and collective authorship. JUN 2025. 
University of Richmond, VA.
•
A few weeks ago, I returned to RVA to offer this workshop that combines somatic exercises with constrained and ekphrastic writing prompts to create a series of sensory translations.
•
1: Projection of collectively-written caption of sounds in the woods projected onto a maple leaf, ‘CHRIP CHIRP WHURRRRR SOUNDS LIKE WIND’
2: Participants prepare projections
3: Projection—SHIMMERING LEMON DROPS
4: Participants practice deep listening
5: Projection—VERTICAL COMPRESSIONS OF WHITE NOISE
6: Participants edit captions together
7: Projection—WATERFALLS SPINNING ENERGY IN THE DISTANCE
•
#collectiveauthorship #captions
#projection #deeplistening #somatics

ALT TEXT EMBEDDED

Tastes Like Music : Explorations in intersensory poetry and collective authorship. JUN 2025. 
University of Richmond, VA.
•
A few weeks ago, I returned to RVA to offer this workshop that combines somatic exercises with constrained and ekphrastic writing prompts to create a series of sensory translations.
•
1: Projection of collectively-written caption of sounds in the woods projected onto a maple leaf, ‘CHRIP CHIRP WHURRRRR SOUNDS LIKE WIND’
2: Participants prepare projections
3: Projection—SHIMMERING LEMON DROPS
4: Participants practice deep listening
5: Projection—VERTICAL COMPRESSIONS OF WHITE NOISE
6: Participants edit captions together
7: Projection—WATERFALLS SPINNING ENERGY IN THE DISTANCE
•
#collectiveauthorship #captions
#projection #deeplistening #somatics

ALT TEXT EMBEDDED

Tastes Like Music : Explorations in intersensory poetry and collective authorship. JUN 2025. 
University of Richmond, VA.
•
A few weeks ago, I returned to RVA to offer this workshop that combines somatic exercises with constrained and ekphrastic writing prompts to create a series of sensory translations.
•
1: Projection of collectively-written caption of sounds in the woods projected onto a maple leaf, ‘CHRIP CHIRP WHURRRRR SOUNDS LIKE WIND’
2: Participants prepare projections
3: Projection—SHIMMERING LEMON DROPS
4: Participants practice deep listening
5: Projection—VERTICAL COMPRESSIONS OF WHITE NOISE
6: Participants edit captions together
7: Projection—WATERFALLS SPINNING ENERGY IN THE DISTANCE
•
#collectiveauthorship #captions
#projection #deeplistening #somatics

ALT TEXT EMBEDDED

Tastes Like Music : Explorations in intersensory poetry and collective authorship. JUN 2025. 
University of Richmond, VA.
•
A few weeks ago, I returned to RVA to offer this workshop that combines somatic exercises with constrained and ekphrastic writing prompts to create a series of sensory translations.
•
1: Projection of collectively-written caption of sounds in the woods projected onto a maple leaf, ‘CHRIP CHIRP WHURRRRR SOUNDS LIKE WIND’
2: Participants prepare projections
3: Projection—SHIMMERING LEMON DROPS
4: Participants practice deep listening
5: Projection—VERTICAL COMPRESSIONS OF WHITE NOISE
6: Participants edit captions together
7: Projection—WATERFALLS SPINNING ENERGY IN THE DISTANCE
•
#collectiveauthorship #captions
#projection #deeplistening #somatics

ALT TEXT EMBEDDED

Tastes Like Music : Explorations in intersensory poetry and collective authorship. JUN 2025. 
University of Richmond, VA.
•
A few weeks ago, I returned to RVA to offer this workshop that combines somatic exercises with constrained and ekphrastic writing prompts to create a series of sensory translations.
•
1: Projection of collectively-written caption of sounds in the woods projected onto a maple leaf, ‘CHRIP CHIRP WHURRRRR SOUNDS LIKE WIND’
2: Participants prepare projections
3: Projection—SHIMMERING LEMON DROPS
4: Participants practice deep listening
5: Projection—VERTICAL COMPRESSIONS OF WHITE NOISE
6: Participants edit captions together
7: Projection—WATERFALLS SPINNING ENERGY IN THE DISTANCE
•
#collectiveauthorship #captions
#projection #deeplistening #somatics

ALT TEXT EMBEDDED

Tastes Like Music : Explorations in intersensory poetry and collective authorship. JUN 2025. 
University of Richmond, VA.
•
A few weeks ago, I returned to RVA to offer this workshop that combines somatic exercises with constrained and ekphrastic writing prompts to create a series of sensory translations.
•
1: Projection of collectively-written caption of sounds in the woods projected onto a maple leaf, ‘CHRIP CHIRP WHURRRRR SOUNDS LIKE WIND’
2: Participants prepare projections
3: Projection—SHIMMERING LEMON DROPS
4: Participants practice deep listening
5: Projection—VERTICAL COMPRESSIONS OF WHITE NOISE
6: Participants edit captions together
7: Projection—WATERFALLS SPINNING ENERGY IN THE DISTANCE
•
#collectiveauthorship #captions
#projection #deeplistening #somatics

ALT TEXT EMBEDDED

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Unstuffy 01 x Access Lab & Library. Boston, JUN 2024.
.
This time last year, Fayen d’Evie and Lloyd Mst visited from Australia and I gathered a handful of other folks who care about access in the arts for the occasion. We made relief prints and shared WIPs and meals. It was simple but sustaining.
.
1: Stephen Proski & Fayen inspect a relief print
2: Roundtable briefing on blind embossing
3: Andy Slater & Stacy Friedman crank out a print
4: Lloyd & Fayen compose print elements
5: Sharing dinner in my home
6: Actual Lab open caption demo. L > R— Sara Hendren, Fayen d’Evie, Justin Looper, and Lloyd Mst
7: Sharing dinner in my home. Clockwise from left side of image—Alison Maurer, Ian Condry, Lani Asuncion, Fayen d’Evie, Lauren Kashan, Justin Looper, Ellice Patterson, Andy Slater, Lloyd Mst, Olivia Reinebach
8: Andy & Ali share a night cap
9: Andy & Fayen share breakfast in my home
10: Unstuffy program

Into the Ground, Into the Body debuted at the Egleston Square Branch of the Boston Public Library SEP 12, 2024 [runs thru OCT 31, 2024].

Thanks to everyone who came out to the opening and rooted into time with the work and with one another. This is by far the hardest thing I've ever done but also the most meaningful opening I've ever had.

We're still processing documentation and reflecting on the whole experience but for now, I'd like to acknowledge this as a massive community effort and name a few key contributors.

TECHNOLOGY & DESIGN: Justin Looper
COMMUNICATION & ACCESS: Olivia Reinebach
CURATORIAL: Jasper Sanchez, Boston Public Art Triennial
SIGNAGE & HOSPITALITY: Alison Maurer
METAL & FAB CONSULT: Jessica Klein & Doug Ruuska
PHOTOGRAPHY: Cameron Kincheloe
SPANISH INTERPRETATION: Sol Martinez Guevara
ASL INTERPRETATION: C
ENGLISH AD: Eddie Maisonet 
SPANISH AD: Luis Cotto
BRAILLE: Amber Pearcy & National Braille Press
AUDIO CONSULT: Bob Bielecki
RESOURCE SHARING & MORALE: Charlo Maurer & Paul Gregory
DESIGN CONSULT: Madelaine Corbin, Louis Anderson, and Gregory Beson
SITE WORK: Lauren Kashan, Diane Dwyer, Angela Eastman, Michael Berthaud
EGLESTON BRANCH LIBRARIAN: Kate Procyshyn
EGLESTON SQUARE LIBRARY FRIENDS GROUP ENGAGEMENT: Marguerite Wynter, Boston Public Art Triennial
BOSTON PUBLIC ART TRIENNIAL ACCELERATOR PROGRAM

Transcript: "Hi! My name is Olivia Reinebach (sign name, “O” hand shape circling slightly at the top of my head) I want to inform you all about something new developing in Boston. Something that everyone can experience. Egleston Square Public Library in Roxbury is hosting a public art installation event. The library has collaborated with Late-deafened artist Nelly Kate. She created an outdoor art installation that consists of a special bench connected to a water fountain in order to show different experiences with sound. Listening/audio? No, there’s none. Instead, it’s about feeling, vibration, visuals, seeing how sound waves are connected in water, and how that connects to the body. The piece is called “Into the Ground, Into the Body.” (She shows a gestured title of this piece. First, she signs “roots” sideways with fingers from the above hand pointed down interlocking with the grounded hand oriented sideways, like an “L” shape with both hands. Then, she takes the dominant out of the “rooted” position, and slides it across the non-dominant hand slowly towards her wrist.) Experience public art for yourself! Thursday, September 12 at the Egleston Square Public Library at 4 PM. The community will gather, we’ll mingle, have some snacks, and then the artist Nelly will share her creative process. We will gather around the installation and explore the different features. The event will have an ASL interpretation, Spanish translation, wheelchair access, and audio description features to explore. The event is only two hours, it goes from 4 to 6, but for the rest of September and the full month of October the art installation will stay there, until October 31st. Come see, experience, feel the vibrations and visuals. Come experience the art: Into the Ground, Into the Body."