Crystal Cortez is a sound, installation artist & programmer based out of Portland, Oregon. She is also a professor of Creative Coding & Sonic Arts at Portland Community College. Her work focuses on the empowerment of underserved populations gaining access and knowledge around technology. Under her performance moniker Crystal Quartez she transforms field recordings, uses synthesis, audio programming, data sonification, and 3D sound spatialization to produce complex sonic realms. She will be joining Timothy White Eagle and his team of collaborators for The Indigo Room, which will be performed in the Downstairs Theatre from November 11 – 21. Pay What You Can tickets can be purchased here. Follow @crystalquartez on Instagram and Twitter.
1. What role does sound play in The Indigo Room?
I’m the sound designer for The Indigo Room. I’ll be contributing to the atmosphere Timothy creates by punctuating his storytelling with sound, and helping to immerse participants in the multiple worlds he guides them through.
2. How would you describe your work as an artist?
My work is focused on using the medium of sound as a transportation device, whether that be in a large-scale interactive installation, through technology I build, or via music alone. I aim to create spaces that give permission for people (and myself) to explore something their daily life might not leave space for. In my sound creation, I build all of my own instruments with field recordings from my immediate world. I use this as a jumping off point, and morph the sounds to facilitate reflection inward or on external topics. Lately, I have been focused on the additions of multichannel sound spatialization and building wearable instruments, to create more immersive sonic environments and integrate the body in the exploration of them.
3. What made you begin your practice of producing sonic realms for reflection and release, and how has it evolved?
I’ve always had a deep interest in what the sounds around me mean; their context in the world, what emotions they elicit, what memories they trigger, how they feel in my body. It’s the sense that has been easiest for me to attach to since I was young. Creating these sonic realms began through performance art pieces where the sound I created allowed me to engage audience members in performance with me. It has evolved to creating spaces and technologies that allow people to engage with sound without my direction, through the interactive tech I build. My personal understanding of my physical and mental relationship to sound has also grown over the years through my practice, allowing me to get closer to my intentions with each soundscape I create.
4. Who or what has inspired you?
My biggest source of inspiration has been my DIY community of artists in Portland. I have been so lucky to begin my art career in a community so accepting of raw expression and experimentation. Larger artists who have influenced my work are Pauline Oliveros and her deep listening practice, and Nam June Paik’s ethos around technology and nature, among many others.
5. How did you come to collaborate with Timothy White Eagle?
Timothy and I were both chosen to be Creative Exchange Lab resident artists for the Portland Institute of Contemporary Art this year. The exchange lab was a multiple week experience, one of which was taking residents to live in the woods to rest and create together. Timothy and I ended up using the site’s chapel for spontaneous sound creation and bonded over exploring the resonance of that space.
6. What does working at La MaMa mean to you?
Working at La MaMa is the perfect introduction to the theater world for me. I’m honored to be contributing to Timothy’s piece, which I so believe in. Beyond that I’m excited to be working in a space that has a rich history of prioritizing and supporting artists in exploration and experimentation. I also appreciate La MaMa’s focus on audience participation, which has always been a huge part of my work. I can’t wait to start!
La MaMa presents
The Indigo Room
By Timothy White Eagle & The Violet Triangle
November 11 – 21, 2021
The Downstairs
66 East 4th Street, basement levelNew York, NY 10003
Thursdays – Saturdays at 8pm
Sundays at 1pm
Sundays at 1pm
Tickets:
Pay What You Can: $10 – $60
Pay What You Can: $10 – $60
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