Julia Edith Rigby

Julia Edith Rigby

Julia is a recipient of a Quick Grant from the Center for Cultural Innovation. This fall she will be an artist in residence at the Bemis Center for Contemporary Arts in Omaha, Nebraska. She has been an artist in residence at GlougauAIR Artist Residency in Berlin, PLAYA Summer Lake, Anderson Ranch Arts Center, Kala Art Institute, and others. Rigby has exhibited work in San Francisco, Los Angeles, New York, and Berlin. Rigby received her MFA in Studio Art at the University of California, Davis (2020), where she was a recipient of the Mary Lou Osborn Award, the Fay Nelson Award and Phi Kappa Phi honors.

Artist Location: Santa Ana, CA

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PARTICIPATION

Crop-up Installation On-site June 3rd

Soundscapes [audio tracks] On-site June 3rd and online June 11th

Foghorn Ecologies
Foghorn Ecologies queers the idea of a foghorn by inversing the relationship of who is making the sound and who is listening. Found, traumatized instruments are welded into new amalgamations and temporarily installed in the ocean. 

What are different ways to listen, and what can listening do for us and our relationships with our world? How can sonic explorations transform our awareness of and relationships to a site, our sense of place? 

The project experiments with the concept of an ocean-powered sound sculpture. What can speculative sculpture do for our sense of place? How can sound transform our awareness of and relationships to a site? 

The sounds we are hearing in this piece are the sounds of myself and the sea playing the sound sculptures I welded from found, broken brass instruments. The sound sculptures were temporarily installed in waters a little south of San Pedro Bay. 

Sea Cave Complex
Sea Cave Complex explores the idea of existing inside a sound. The project temporarily transforms a complex of local sea caves into a sound sculpture in which viewers / listeners are invited to explore sensory perception and relationships between humans and non-human systems. It’s a phenomenological experiment that asks questions like: what can speculative sculpture do for our sense of place? How can sound transform our awareness of and relationships to a site? Which elements of a particular site—in this instance a specific tidal ecosystem—are we perceiving or not perceiving? How might a sea cave transmogrify into a soniferous body? An intervention with wire and bow gives voice to the sea caves. The caves becomes resonating chambers for sounds previously un-hearable and unheard. We can hear the caves breathing. Caves are sites of inhalation, exhalation, decomposition, degeneration, regeneration, recomposition. The audio composition reflects these processes.

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