Taylor Griffith is a multi-disciplinary artist from Oakland, California. Currently he is living and working in Los Angeles, California. He collaborates with scientists, artists, and organizations to get out in the field, collecting imagery, audio recordings, notes, and samples that then come into the studio to be distilled down into a body of work. Using; photography, video, sound, sculpture, and print/bookmaking, Taylor takes a multi- medium approach to the interdisciplinary nexus of art and science. He uses found materials to make sculptures and new/analog technologies to create time based works.
Artist Location: Los Angeles, LA
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PARTICIPATION
ICY FLOW examines the sonic and visual space of the front lines of climate change. Field recordings mixed with distorted video projections of the Antarctic peninsula form this abstract artwork.
Structural Collapse (Land and Sea)
Structural Collapse is an ongoing series of installations I have made using ghost lobster traps. Ghost traps are a type of ghost gear, which is lost or abandoned fishing equipment that persist in marine ecosystems. This series uses traps recovered from the San Pedro/Palos Verdes coastline that have been cleaned and painted in bright monochromes. These colors serve to highlight their line and form as well as contrast to the landscape they inhabit. These broken and fragmented grids bear the trace of their own time as well as the tidal action that sent them back to shore.
For my proposed sculptural installation Structural Collapse (Land and Sea) I want to place four traps outfitted with speaker boxes playing a 2-channel audio work composed of edited field recordings. One channel will be underwater recordings of California kelp forests. The other will be recordings from the areas the traps were found and where the lobsters are sold. All three channels will form a sound collage that will move as they transition between moments of clarity and abstraction. My intention for this work overall is to shift the perception of Sites between the real and the surreal through sound and sculpture. By merging these objects with sounds from their landscapes I hope to create a dimensionally abstracted picture that offers a multiplicity of perspectives on how we interact with the natural world.