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Chakaia Booker’s Art: Where the Rubber Meets the Road, Part 2

One of the surprising success stories in the world of recycling is that of discarded tires. Of the 303.2 million scrap tires generated in 2007 – that’s one for every person living in the United States – nearly 90 percent by weight were recycled, according to the most recent figures from the U.S Environmental Protection Agency.

More than half of all reclaimed tires in the U.S. are used to fuel factories. They can also be used to treat wastewater, or made into asphalt, playground equipment, carpet padding, shoes — and more tires.

In the hands of Chakaia Booker, they can also become remarkable sculptures. A preferred medium for this New York-based artist, she deconstructs used tires then cuts, shapes and folds them into massive and highly textured shapes with supports made from steel, wood and other materials, which are hidden from view.

Booker’s work first attracted international notice in 2000, when a 12.5′ x 21′ wall relief of shredded and rewoven automobile tires, inner tubes and cow milking pods titled “It’s So Hard to Be Green” was part of the Whitney Biennial. Since then her sculptures have become part of the permanent collection at the Metropolitan Museum of Art in New York, the Akron Museum of Art and NASA, among others. She has participated in both group and solo exhibitions in museums and sculpture gardens throughout the US, Japan and the Netherlands. She has received the Pollock-Krasner Grant in 2002 and a Guggenheim Fellowship in 2005.

It's So Hard to be Green by Chakaia Booker

It’s So Hard to be Green by Chakaia Booker.

Detail: It's So Hard to be Green by Chakaia Booker

Detail: It’s So Hard to be Green by Chakaia Booker.

Working with tires requires special skills. “It takes a lot of body work,” she said when describing how she must first cut through the tires, which each weigh 15 to 20 lbs — and she goes through 1000s of them in her studio, an old laundry facility in Allentown, Pennsylvania. “The tires com from streets and landfills, from cars, vans and trucks.”

Many of her sculptures are exhibited out of doors. Recently, four of her sculptures have been displayed in the median of a major highway, New York Avenue, outside the National Museum of Women in the Arts in Washington DC from March 8, 2012-April, 2014. This unique installation is the result of the museum’s partnership with several public and private agencies to produce and maintain the exhibit for the enjoyment of both drivers and pedestrians. It is the museum’s second exhibit on this median which is the only public art space in the city featuring installations of contemporary works by women. Images from the Booker exhibit on New York Avenue are below.

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Chakaia Booker, Gridlock, 2008; © Chakaia Booker, courtesy of Marlborough Gallery, New York; Photo credit: Lee Stalsworth.

Booker, is also known for her creative wardrobe and wants her appearance to also be a work of art. She often wears a giant headpiece made from multicolored yarn layered into an oblong mound, colorful fabric or tire rubber that covers all her head but the shape of her face. She said, “When I get up each day, I begin with myself, as far as sculpting myself.” Her sense of unconventional style began early, and goes back to her childhood when she learned to sew and ignored the rules.

Photo of Chakaia Booker by Nelson Tejada.

Photo of Chakaia Booker by Nelson Tejada.

Her online bio is not up-to-date. But you can learn more by watching videos, such as this short talk given in 2008.

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Behind the Scenes: Lost and Found Art Supply Chain

Note from Reena: As a tribute to artists who transform cast-off products into vibrant designs, sometimes enriched with dings and markings of their previous lives, and who often go to great lengths to locate and transport these materials to their studios, we reprint a behind-the-scenes blog we wrote about them in 2011.

Artists who work with found materials recognize the creative potential in discarded materials and transform them into intriguing objects for us to enjoy or use. But finding those materials is not like going to the store to buy a tube of paint. By definition, the supply of found objects depends on the vagaries of nature, both human and environmental.

Like farmers, who despite their best planning and hard work are always at the mercy of the weather, artists recycling or repurposing materials depend on the original owners to throw the objects away in the first place.  Because, here at Eco-Artware we work with designers who create multiples of their original work; we see these market forces at work every day.

Cuff links made with Washington, D.C. Trolley Tokens

Cuff links made with Washington, D.C. Trolley Tokens. Streetcars carried people throughout the city between 1862-1962. They scaled back with the popularity of the automobile and the city eventually switched to buses and a metro system.

For example, old subway and trolley tokens are plentiful when they are discontinued and transit systems first introduce new ones. Once the obsolete ones are snapped up by collectors, the supply dwindles because no more tokens are issued. For instance, we carry cuff links made from Washington, DC trolley tokens which the designers purchased from the D.C. Department of Transportation. But, unlike the Department of Transportation in other cities, they did not purchase old ones from the commuters so the city had no more to sell. Now the designers hunt them from private sources and our supply is uncertain–we just waited for eight months to get a few more pairs in stock.

Boris Bally's Pentatray handmade from a speed limit traffic-sign.

Boris Bally's Pentatray handmade from a speed limit traffic-sign.

Boris Bally's Speed Limit Transit Chair

Boris Bally's Speed Limit Transit Chair.

In the case of Boris Bally’s popular traffic-sign home furnishings, he can only make as many chairs and trays as there are retired signs. If a highway department decides to keep its Speed Limit signs up a little bit longer, Boris has to make them out of, say, directional signs until the Speed Limit signs are finally available to him.

Expandable bracelet made from ostrich shells by Namibian Bushmen with a black accent bead.

Expandable bracelet made from ostrich shells by Namibian Bushmen with a black accent bead.

And now the long arm of the law of supply and demand is reaching into ostrich farms. Namibian farmers used to donate shells from hatched ostrich eggs to local Bushmen (members of the San tribe) who have made jewelry with them for thousands of years.  Their donations provided bushmen with a livelihood and helped them preserve their culture and way of life.

San women making beads from ostrich shells using traditional techniques

San women making beads from ostrich shells using traditional techniques.

Now most farmers have found other uses for the shells and no longer donate them to the bushmen. Until they can find another source of income, missionaries are donating food to these tribes while helping them acquire new skills and adjust to changing times. However, there is a limited supply and we carry their bracelets when available.

Artists who rely on the discards of others face a continuing challenge to collect materials. That’s what makes these objects so dear to us. They are the expression of the artist’s creativity with what’s available. All we need is the long view and patience.

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New Exhibit says ENOUGH Violence

It seems that we hear news about new murderous attacks with guns daily. In fact, one in 20 U.S. students is directly impacted by violence — either as a victim or an offender.

To grapple with the problem, Pittsburgh’s Society for Contemporary Craft developed a new exhibit, ENOUGH Violence: Artists Speak Out. Through 48 contemporary works by 14 artists from the U.S., Italy and Scotland, it explores how violence affects our lives and asks what we can do to combat it.

The artists, who work in clay, metals, fabric, photography, and found objects, focus on issues of violent crimes, gang violence, war, terrorism, and domestic abuse. Selecting crafts to explore a serious social problem is an unusual idea because most people associate these media with decorative and functional objects. The artists’ reaction to gun crimes expressed in these media provides us unusual and fresh ways to see the problem.

Loaded Menorah, 2013 by Boris Bally.

Loaded Menorah, 2013 by Boris Bally. 12″ wide by 37.5″ long x 11″ tall. Materials: altered hand-guns, gun barrels and silver.

This exhibit contains works by two artists who work with found materials. It contains three pieces by Rhode Island metalsmith Boris Bally, who has been interested in anti-violence art since the early 1990s. In 1997 he curated a show at Carnegie Mellon University that challenged artists to create sculptures out of decommissioned handguns obtained from buyback programs.

“Loaded Menorah” is made entirely of disabled weapons. In it, nine revolver barrels rising from a tangle of weapons have mouths finished in light polished silver cups to receive the Chanukah candles.

“I am reminded of the famous picture of George Harris sticking carnations into gun barrels during a 1967 anti-war demonstration at the Pentagon,” he said.

Brave lll: Necklace, 2013 by Boris Bally.

Brave lll: Necklace, 2013 by Boris Bally. 17″ x 15″ x 1.75″ 100 handgun triggers (steel) mounted on stainless cord. Silver. Gold.

Brave 4: Breast Plate, 2013 by Boris Bally.

Brave 4: Breast Plate, 2013 by Boris Bally. 26″ x 11.5″ x 2″ Gun-triggers, gun-bolts and gun-barrels (steel) and brass shells, mounted on stainless cord. Silver.

Minnesota fiber artist Beth Barron says her work is a monument to the human spirit and a “wish for wholeness.” She created “Implosion” from Band-Aids found in parks, playgrounds and sidewalks. For her, the found Band-Aids become an enigmatic metaphor: Do they represent pain or healing?

Implosion 1, 20009 by Beth Barron.

Implosion 1, 20009 by Beth Barron. 52″ diameter. Hand stitched found band-aids.

While working she said she has time to contemplate how we heal ourselves “…after personal or social devastation, whether our healed scars protect us in some new stronger way, and how fragile or resilient we will be once we have been wounded.”

It took about a year to complete “Implosion.” Barron hand-sewed each Band-Aid to a ground cloth, stiffened on the back with matte acrylic paint “to keep the knots from being untied.” She sometimes spent 10 hours a day working, although she sometimes skipped days before getting back to it.

The exhibit also includes a physical space in The Society’s Drop-In Studio for visitors to create their own personal talisman to take with them. A public Tumblr collection allows people to tell their own stories about their experiences with violence and participate in suggestions for creating a solution.

Visit the Society for Contemporary Craft’s website for more information about the exhibit, which closes March 22, 2014.

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Leo Sewell: From Scrounger to Sculptor

Artist Finds His Muse in Refuse

Leo Sewell grew up playing with objects he found in the dump near his home. He pulled them apart for fun until his parents suggested that he try putting them together. He’s been doing just that for over 50 years.

Sewell is considered a Visionary artist, a category reserved for the self-taught, but he is highly educated in other areas. He earned a B.A. in Economics and an M.A. in Art History, writing his master’s thesis on the “Use of the Found Object in Dada and Surrealism.” Then he decided to jump from academic to creator, having taken “one 50-minute art class” in his life. This illustrates his philosophy that “chance is the greatest creative force that can happen.”

Pig by Leo Sewell

No Feeding Required: Pig by Leo Sewell, found object assemblage. 9″ x 16″ x 4″

Sewell creates highly decorated sculptures out of castoffs, assembled with nails, bolts and screws in a process he has evolved over time. Both the frame and surface of each sculpture is made from found materials, with finished pieces ranging in size from a full-grown housecat to a 24-foot-long dinosaur. For some commissions, he includes objects with personal meaning contributed by the person who commissioned the art.

Sewell has plenty of raw materials at hand. His large workshop is packed with art supplies picked from the streets of Philadelphia — 100,000 discarded objects carefully organized into 2,500 categories such as gold-coated sharks’ teeth, corn holders and Fisher-Price people.

Statue of Libery's Arm and Torch by Leo Sewell. This 40' sculpture is made entirely of discarded toys and games is housed in Philadelphia's Please Touch Children's Museum. It is a same size adaptation of the Statue of Liberty's original arm and torch was displayed in 1876 to raise funds for its pedestal.

Statue of Liberty’s Arm and Torch by Leo Sewell.

During his career, Sewell has produced over 4,000 sculptures created from found obects , which are included in over 40 museums worldwide, including several children’s museums, and in both private and corporate collections. To learn more about his work, visit his Wikipedia page, and watch a short video about his January, 2013 exhibit in Old City, Philadelphia.

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Nick Bubash’s Many, Many Artistic Hats

Black and white photo of Nick Bubash

Nick Bubash in his studio. A few masks, collected on his travels, are displayed on the wall behind him. Photo by John Wyatt

Nick Bubash is a trained artist who works in many different media. He started young and took art classes on Saturdays when he was growing up in Pennsylvania. He studied art at Pennsylvania State University, but before graduating he moved to New York City.

By chance, he went to get his first tattoo from Thom DeVita, who also created assemblages and collages. Bubash, who immediately felt comfortable with the artist and his ideas, stayed in New York to learn the art of tattooing from DeVita from 1969-1974. He left to open his own tattoo shop in Pennsylvania.

With DeVita’s encouragement, he resumed formal art training in the 1980s. He attended the Pennsylvania Academy of The Fine Arts, where he graduated with highest honors and won prizes in for figurative sculpture, printmaking and a scholarship to study and travel in India.

Returning to the U.S., Bubash opened a tattoo studio in Pittsburgh, Pennsylvania, in a small two-story office building. Here he also creates assemblages from finds from travels to small markets in India, thrift stores, yard sales and pieces of his daughter’s broken toys. He also has a studio for painting and clay sculpting.

Bubash also tattoos almost every day of the week — a skill which draws on his extensive training and study to create the infinite variety of styles and ideas requested by his clients.

Self Portrait by Nick Bubash

“Self Portrait” by Nick Bubash. 3′ x 2.5′ Composed of shells, peacock feathers, porcupine quills, pearls, fur ad cow vertebrae mounted on paper. Bubash has created several self portraits because he said, “The model always shows up.”

Bubash is currently exhibiting 33 sculptural assemblages at the Warhol Museum in Pittsburgh through September 15, and two mixed media pieces and a drawing with watercolor in the Tory Folliard Gallery in Milwaukee, Wisconsin, through August 31. For the past 25 years, his work has been included in numerous permanent museum collections, including The Chicago Museum of Contemporary Art and the Pennsylvania Academy of Fine Arts, and private collections across the country.

Long Awaited Arrival by Nick Bubash

“Long Awaited Arrival.” Assemblage by Nick Bubash. 12″ x 18″ x 20″. The base is 18″ x 12″ wide. Bubash created the walnut base to fit his assemblage. The composition consists of marbles, porcupine quills, children’s blocks, an old wooden toy car, copper flowers. Bubash sculpted the torso. The elephant head is readymade from rubber; Bubash sculpted an addition to the trunk to make it longer.

To learn more about Nick Bubash, visit his website.

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David Emitt Adams’ Photographic Conversations with History

Note from Reena: An artist friend, who lives in Virginia, discovered David Emitt Adams’ images on the web and sent the link to me. I am also moved by his gift for telling a story through simple artifacts and his technical skills — an array of historic photographic techniques — to visually embellish the objects to link them to their past. I’m happy to be able to share this statement and images from his website with Eco-Artware-Notes readers.

Traces 10

I was born in Yuma, Arizona, in 1980. By the time I was an adult, the Arizona desert was far from that once documented by Timothy O’Sullivan.

Shadow with Cans

Never have I known this landscape without roads, homes, buildings or urban sprawl. This notion of land untouched by the hand of man is so foreign it might as well be make-believe. As long as people have been in the American West, we have found its barren desert landscapes to be an environment perfect for dumping and forgetting.

Traces 17
The deserts of the West also have special significance in the history of photography. I have explored this landscape with an awareness of the photographers who have come before me, and this awareness has led me to pay close attention to the traces left behind by others. For this body of work, I collect discarded cans from the desert floor, some over four decades old, which have earned a deep reddish-brown, rusty patina. This patina is the evidence of light and time, the two main components inherent in the very nature of photography.

Traces 4

I use these objects to speak of human involvement with this landscape and create images on their surfaces through a labor-intensive 19th-century photographic process known as wet-plate collodion. The result is an object that has history as an artifact and an image that ties it to its location. These cans are the relics of the advancement of our culture, and become sculptural support to what they have witnessed.

David Emitt Adams is a photographer who lives in Arizona. He received an M.F.A. in Photography from the University of Arizona where he currently teaches as an adjunct faculty member. His work has been exhibited in museums and galleries throughout the U.S., and he is currently a resident artist in Lehon, France.

For additional information, visit David Emitt Adams’ website. He is represented by the Etherton Gallery.

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Mr. Busy

Most days, Tim Sway wears three hats. He creates one-of-a-kind furniture from carefully selected discarded pallets, bowling alley floors and other wood castoffs; looks after his two children while working in his home-based studio in Connecticut and in the evenings plays double bass in Jamie’s Junk Show, a professional pop/rock band.

Sway’s affinity for wood runs in his family. Both his great grandfather and grandfather were professional carpenters. His dad, a businessman, spent a lot of time fixing up their antique home and involved young Tim in the process. That’s how Tim learned to appreciate the beauty of older buildings and furniture and where to find just the right pieces to repair or restore them.

Drum chair and bowling alley coffee table by Tim Sway

(Left) Drum Chair (made from a broken bass drum, used drum sticks and maple wood) (Right) Tables made from a wood bowling alley floor, tinted light red. The left one is mounted on used bowling pins. The low coffee table is mounted on salvaged steel legs.

One career wasn’t enough for Sway, who studied jazz composition in college. He channels abstract ideas and feelings through music and satisfies his visual side by creating unique, functional furniture from found materials “to make worthless things priceless.” Supplies come from the local dumpster, architectural salvage stores, shipping pallets and a network of people who pick up interesting trash for him. He salvages nails, hinges and hardware from his projects but goes to hardware stores when necessary.

Bike Entry Table by Tim Sway

This Bike Entry Table is made from discarded bike wheels, a broken Rose of Sharon bush and a walnut top by Tim Sway.

He takes his kids with him on dumpster trips and, like his father, lets them work in the studio so they can learn to fix and reuse broken objects rather than toss them out and buy new ones.

Hairdryer Chair by Tim Sway

Hairdryer Chair. Made from a chair Sway picked up from the side of the road. He cleaned up the chair, instilled a 150-watt iPod docking station in the chair and turned the dryer into a reading lamp (with a green lighted storage area where the dryer element used to be.)

Sway creates furniture made to order with materials brought by his clients and/or with repurposed materials he has on hand. He also sells furniture of his own design in his Etsy shop.

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Vollis Simpson, Found Materials Artist, Dies at 94

Vollis Simpson working on a whirligig. Photo by Burke Uzzle.

Vollis Simpson working on a whirligig. Photo by Burke Uzzle.

Vollis Simpson, a self-taught artist who lived in Lucama, North Carolina, died at his home on May 31, 2013. He was internationally known for his idiosyncratic, wind-powered whirligigs (he called them windmills) made from old fans, washing machine parts, recycled steel, aluminum and other industrial salvage. “I had a lot of junk and had to do something with it,” he once said.

Simpson started out fixing things that broke down on the farm where he grew up. A self-taught engineer, he built his first windmill using a junked B-29 bomber to power a washing machine in Saipan, where he was stationed during the WWII. He worked in the equipment repair business after he returned from the service.

Close up of a whirligig decoration by Vollis Simpson

Close up of a whirligig decoration by Vollis Simpson.

Simpson started a house-moving business in 1985, building his own tow-trucks to move the houses. He also began using junked equipment parts to build huge wind-powered machines — some up to 60 feet tall — in his spare time. One windmill powered a heating system for his home.

Simpson’s work became known to a wider world when Rebecca Alban Hoffberger, founder of the American Visionary Art Museum in Baltimore’s Inner Harbor, invited him to provide a permanent outdoor sculpture for the museum’s opening in 1995. He came up with one you can’t miss — three stories high, it weighs three tons and is covered with highway reflectors so it can be seen both night and day.

A group of Simpson's kinetic sculptures.

A group of Simpson’s kinetic sculptures.

Subsequently, Simpson’s client list extended to include four sculptures for the 1996 Summer Olympics in Atlanta; a Christmas window for New York City’s Bergdorf Goodman department store to design in 2009; a shopping center in Albuquerque, New Mexico, and the American Folk Art Museum in New York City.

All work remaining on his farm will be moved and exhibited in the Vollis Simpson Whirligig Park, scheduled to open in November in Wilson, North Carolina, about 10 miles from his home. The North Carolina legislature has approved a measure making whirligigs the state’s official folk art.

 

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Dumpster Artists

While a growing number of craftsmen are working with other people’s discards, Recology, a California resource recovery company, actually pays artists to turn trash into art.

<em>Crazy Quilt</em> by Remi Rubel.  1991. Built from bottlecaps and other metal objects

“Crazy Quilt” by Remi Rubel. 1991. Built from bottlecaps and other metal objects.

In 1990 Recology began a unique art and education program. The company selected artists to work full time for four months in a large, well-equipped studio next to its transfer station in San Francisco. The transfer station is located within a 46-acre property that includes several recycling facilities and the public disposal area (aka “the dump”). Most of San Francisco’s garbage  is temporarily stored at this site before moving on to a landfill elsewhere in California.
 
Recology changed its name from Norcal Waste Systems in 2009 to reflect its corporate culture and values. More than a private, employee-owned waste management company, the company wants to encourage people to reuse material, think about new ways to conserve resources, and support local, professional artists.

Mum - Sea Breeze 2012 by Karrie Hovey

“Mum — Sea Breeze” by Karrie Hovey. 2012. Made from books, latex paint, particle board, and a metal table ring.

Artists are selected by an advisory board of environmentalists, artists and curators; each recipient receives a $1,000 monthly grant to cover basic personal bills.

<em>Audrey Hepburn Dress</em> by Estelle Akamine. 1993. Made from foam sheets, plastic bags, six-pack holders

“Audrey Hepburn Dress” by Estelle Akamine. 1993. Made from foam sheets, plastic bags, six-pack holders.

At the end of each residency, the company holds a free public reception and exhibition of the artist’s work in the company’s studio. As visitors enter, they are confronted with a mountain of trash. They then see how imagination turns discards into meaningful objects. 
 
The artists roam the  public disposal area with shopping carts, collecting different types of trash. One may look for furniture, trinkets, photos and other personal objects, for found object collages, while another looks for raw materials such as wood, painted metal or wire for assemblage.

3711 x 13510 by Zachary Royer Scholz. 2010. Constructed from pine and paint

“3711 x 13510” by Zachary Royer Scholz. 2010. Constructed from pine and paint.

Some of the trash art is exhibited permanently in Recology’s three-acre sculpture garden atop a hill overlooking the San Francisco Bay. The garden is located between the garbage and recycling facilities and the Little Hollywood neighborhood. Many pieces from the program are also exhibited in office buildings, schools and other public or private spaces in the city. The garden is a stop for students on one of the 160 tours held throughout the year. 

A new exhibit, “The Art of Recology” can now be seen in the United Terminal at the San Francisco International Airport. Celebrating the Recology San Francisco Artist in Residence program, it presents over 100 works by 45 artists, made during the time they worked in the studio at the Solid Waste Transfer and Recycling Facility. It will be on public view through October 27. Below are images of art included in this exhibit.

Styrofoam Hummer H1 by Andrew Junge

“Styrofoam Hummer H1 (low mileage, always garaged)” by Andrew Junge. 2005. Constructed from styrofoam, lumber and steel.

Last Dive at the Farallones by Ethan Estess

“Last Dive at the Farallones: 100,000 marine mammals killed per year” by Ethan Estess. 2012. Created with wood, Styrofoam, wood flooring adhesive, super glue, screws, and rope.

To learn more, visit the Recology website.

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Terry Dame’s Accessible New Music

Terry Dame and some instruments she designed and built.

Terry Dame and some instruments she designed and built.

Terry Dame is an adventurous, experimental musician. A multi-instrumentalist, she composes music for concert halls, film, video, circus and dance — all on instruments (percussion, string and wind) that she designs and builds herself from recycled materials.

Daughter of a piano teacher, Dame played piano and trumpet before studying engineering at the University of Massachusetts where she graduated with a degree in Environmental Design. After working in an environmental planning office for a year, she bought a synthesizer and began composing and performing with a local theater company.

In 1985 Dame moved to New York City, composing and performing with small groups throughout the city. In 1995, she moved to California to attend the California Institute of the Arts where she studied composition, saxophone, and Balinese gamelan along with Persian and Hindustani music; she received an MFA in composition and performance in 1997.

Dame built her first instrument, a rubber-band harp called the Rubarp, while studying in California. After graduation, on returning to New York, she realized she could find materials in the city streets and continued to work mostly with recycled finds.

“I have always been concerned and interested in environmental issues, alternative energy, sustainability and recycling,” she said.

For nearly ten years, she directed and played with a percussion-based quartet, Electric Junkyard Gamelan, which toured and played original compositions on frying pans, saw blades, clay pots and a variety of hybrid instruments. “The nature of the materials makes the instruments visually interesting, and although my music is out of the ordinary, it remains accessible,” Dame said. “I think the combo is appealing to people.”

Clayrimba, one of the instruments designed and played by Terry Dame.

Clayrimba, one of the instruments designed and played by Terry Dame.

She noted that replacing instruments at short notice can be difficult. On one tour, drummer Lee Frisari “finally broke through the bottom of the 30-gallon garbage can we used as a kick drum. We had several shows ahead of us on the tour but I was hell bent on not buying a new can,” she said. They were in rural western Massachusetts and Dame’s sister, who lives there, “paraded us around to her neighbors who graciously let us poke through their barns, banging away on garbage cans until we found one that had the right tone.”

Interview and performancd with Terry Dame and the Electric Junkyard Gamelan on Brooklyn Independent TV.

Interview and performance with Terry Dame and the Electric Junkyard Gamelan on Brooklyn Independent TV. (Click to view on YouTube)

When the Electric Junkyard Gamelan went on hiatus, Dame moved on to an interactive solo project called Electron Gong. “My goal with this new project is to explore ways to humanize our interaction with technology and manifest the ideas in a creative way,” she said.

She currently performs on handmade electronic instruments monthly at the Branded Saloon in Brooklyn on “Weird Wednesday” which features “instrument inventors and players of the oddity,” many of whom also incorporate found or repurposed materials.

Dame also plays saxophone with “Monkey on a Rail,” a new-music ensemble; “Zapote,” a six-piece Latin samba band; and Paprika, a six-piece international dance music ensemble. She is an instructor in New York’s School of Visual Arts, a freelance music and sound editor for the fashion industry, and produces recordings for her performing groups and numerous film and video scores.

For more information about Terry Dame, visit her website.

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