Exhibitions | Performances | Workshops
V 26:2 Laura Hyunjhee Kim | David Stout
NEW MEDIA CONTEMPORARY PRESENTS: 26:2
Featuring artists DAVID STOUT and LAURA HYUNJHEE KIM
Opening January 30, 7-11pm | On view through March 1.
DAVID STOUT
David Stout (MFA CalArts) is a visual artist, composer, electronic instrumentalist and performance director working across traditional arts and emerging technologies. His award-winning practice spans live cinema, interactive video, electro-acoustic music, and immersive projection performances. Recent projects explore generative systems, artificial-life networks, and simulation environments. He cofounded interactive media ensemble NoiseFold, exhibited worldwide from Morocco to Texas. Current work encompasses electronic sound, visual music, audio-visual transcoding, VR, and glassmaking—including artist residencies at Pilchuck Glass School and Museum of Glass, where his work enters the permanent collection. At University of North Texas, he directs the Hybrid Arts Laboratory, coordinates iARTA (Initiative for Advanced Research in Technology and the Arts), and holds joint professorship in Music Composition and Studio Art, teaching Intermedia Performance.
(VERTICAL SCREENS)
V-Cinema Series - Speculative Sculpture and Installations
An ongoing series of short video miniatures that visualize fictional artworks and musical experiences that bend reality. The series rests at the nexus of audio-visual poetics, science and metaphysics. The infinitely looping films are designed for both physical exhibition and on-line dissemination.
[Program 1]
Helios (2025) Depicts an oscillating Sun Machine in the form of a speculative sculptural object emitting radial formations of spinning sonic light. Time Dilation I (2025) Time Dilation is the phenomenon where time passes at different rates for observers depending on their relative velocity or position in a gravitational field. This speculative audio-visual sculpture seemingly synchronizes and transforms the viewers in the room.
The Auric Vessel (2025) is a visual music miniature created utilizing samples and musical phrases prompted with gen-AI and then organized, layered and remixed with acoustic sounds. The image is similarly the result of a prompt exploring installation scenarios inspired by alchemical processes.
When the Rain Calls Your Name (2025) An encounter with the ineffable.
[Program 2]
The Measure of All (2025) A kinetic museum installation that draws attention to our Earth as a living, "breathing" being. Photosynthesis (Inhale) + Respiration & Decay release of CO2 (Exhale) + Oceanic Exchange + Volcanic Activity (Deep Breath). This short, infinite video loop acknowledges both the empirical measurement and metaphysical knowing that all of being exists within a single breath.
Strength in Numbers (2025) A depiction of infinity embodied in a set of site-specific self- replicating sculptures. Do they have a specific utility? Where do they come from? These questions underscored by the subliminal sounds of boiling water and a resolutely male choir. Raising temperatures? Men at the helm? Where are they taking us? When does it end?
Wave-Trap (2025) site specific installation located at the nexus point of an inter-dimensional portal - GPS coordinates provided. Look it up.
(ON THE CANVAS PROJECTION SCREEN AND STAGE SCREEN, TWO VIDEOS)
VIDEO 1:
“Our Hands Were Tied” (2026) is a common excuse to avoid culpability. The film is an unsettling rumination on the secrets we keep, the traumas we hold and the masks that we wear.
The cast of hostages, suffering from ambiguous self-inflicted and/or societal tortures, are simultaneously rendered as victims, perpetrators and innocents who, try as they might, cannot fully outrun or shed their own judgements, postures or denials.
The film draws inspiration from diverse traditions including Eastern European stop-motion animation, Japanese Butoh, and artist Joseph Beuys’ use of fat as a visceral aesthetic material.
None of these artistic references are used in the prompting of AI imagery, other than a variety of qualitative descriptions of lard, butter and fat. Instead, the prompting strategy is focused on emotional resonance and specific gestural evocations much like the director’s work with physical actors and dancers. Similarly, the sample library used to construct the music was also prompted with AI and then sliced into bits and mixed with foley, environmental sound, electronic instruments, and vocal utterances.
VIDEO 2:
Contours and Coincidence (2021) is a generative exploration of bio-morphic forms found in the natural world. Contrasting bold graphic gestures with lilting lines and chaotic filigree, this work draws inspiration from the tradition of hand drawn experimental films. The music score eschews David’s typical use of image sonification and synthetic sound sources, instead the work consists entirely of sounds taken from short wave, FM and AM radio broadcasts. As such, it is both performative, in the sense of incorporating dial scanning between stations, while also being highly composed using carefully drawn envelopes to sculpt each audible moment.
Computational media, like the pencil, is a prosthesis extending the reach of the hand, the tongue and consciousness itself. Using generative image techniques as a form of contemporary scrying to activate a deeper imaginal realm in play at the liminal edge of the mind’s default pattern recognition states.
(SELECTED PRINTS)
Walking the Dragon Path II (2024) is a print series created in the year of the dragon that celebrates the archetypal aspects of an enduring myth that appears across many cultures in various guises. In the west, associated with fire and animal instinct, the dragon must be slain for the hero to reclaim the hostage feminine and a crowning treasure hoard. In the east, the dragon is a symbol of power, the master of the weather and waters, often said to live in rivers, lakes and waterfalls. It is the fusion of these two archetypes emphasizing a benevolent guiding flow and the promise of a transformational quest that permeate the series. Here, the viewer stands on a confounding alchemical path, where serpentine trails intersect and travel through a dense forest-scape toward an obscure destination. A passage marked by golden ribbons, braids, pearlescent liquid vines and other coiling tendrils weaving through and around the trees. In some cases, the trunks of the trees become porcelain pillars, or totems emerging from the snow. The compositions are predominantly rendered in gold and white, the “dragon colors” often associated with spiritual purification, power and prosperity. Most importantly, these works are visual explorations of flow, mystery and memory as imagined in the winding walk to map our own exquisite neural pathways.
No Penance (2025) is a digital print series depicting portraits of fictional personas rendered in a compound mix of lard, dough and marbled fat each afflicted with oozing sore-like berries, and bound with rope, wire and twine. The project is a visualization of misery underscored with a grave ambiguity – are these portraits of contrition or denial, of judgement or fear of being judged? The images in this series have provided the visual vocabulary for a companion short film, “Our Hands Were Tied” completed in 2026.
LAURA HYUNJHEE KIM
Laura Hyunjhee Kim is a Korean-American multimedia artist who creates post-disciplinary performances to reimagine human and nonhuman interaction through embodied ways of knowing. Her projects are multimodal and take many shapes, including video art, performance art, installation, digital art, new media art, and writing.
Kim’s work has been featured in numerous exhibitions, festivals, and screenings around the world, including at the San Francisco Museum of Modern Art, Crow Museum of Asian Art, KADIST, Pioneer Works, Harvestworks, Transfer Gallery, Telematic Media Arts, Theatre of Digital Art in Dubai, Centro Cultural São Paulo, Vector Festival, and Athens Digital Art Festival. She is the recipient of the ArtSlant Award in New Media (2013), New Media Caucus Distinguished Scholar Award (2019), Judson-Morrissey Excellence in New Media Award (2020), Black Cube Video Art Award (2020), China Academy of Art and Pasha Meta School’s Prix City Digital Skin Art Award (2023), and Texas A&M’s Institute for Applied Creativity and School of Performance, Visualization and Fine Arts and The Arts Council of Brazos Valley’s Creative Process Award (2023). She is the author of “Entering the Blobosphere: A Musing on Blobs” (The Accomplices) and coauthor of “Remixing Persona: An Imaginary Digital Media Object from the Onto-Tales of the Digital Afterlife” with Mark Amerika (Open Humanities Press).
Kim is an Assistant Professor of Visual and Performing Arts at The University of Texas at Dallas, living and working in the company of neighboring songbirds, squirrels, coyotes, and wild rabbits of Texas.
Parapop (2026)
The Breakup (2026)
(THIRD SCREEN FROM THE DOOR)
Traveling 2046 (2022)
Video, 3min 13sec, In collaboration with Chris Corrente, 2022
Traveling 2046 is a performative utterance and personal eulogy that takes the form of a music video artwork. Emblazoned with nonstop prose, hypnotic hooks, and spoken words stitched by means of dream logic, the piece advances without a moment of visual pause or aural silence; relentlessly as time itself. Hyper-stimulating sequences of colorful images generated by 3D body scanners and human/nonhuman AI artists express the temperament of (non)human bodies deeply entangled with the sensorial experiences of ecological, technological, and biopsychosocial time.The project centers the artist’s body as a diffractive prism, a site for living-research that urges nonhuman bodies-to-bodies to see with and through others; sensate, harmonize, shimmer, radiate, as a means to co-create narratives of co-existence. Would expanding our sense-abilities allow us to attune to the (un)forgotten and (un)seen embodied memories of the past and present? What yet-to-be imagined stories of the future are we haunted by and what actions can we take in the real-time-now to co-survive with our awakening apparitions in the anthropocene?
Audiovisual texts in the video were partially sourced and inspired by the works of fellow artists and 1980s-2002s popular music and television, including Japanese pop artist Utada Hikaru’s Traveling (2002).
With appreciation to cited works (in order of appearance):
Utada Hikaru “Traveling” (2002)
Buckminster Fuller as quoted by Incubus “New Skin” (1998)
Thomas Riccio “Blue Jelly” (2022)
John Pomara “Pool Party” (2021-2022)
NBC “Quantum Leap” (1989-1993)
“Blink” examines Human/AI collaboration as a breakpoint in concepts of creativity and artistic identity.
To 'blink' creates a point of convergence and entanglement; a transitory event that holds the power to fix or unfix reality. Each 'blink' creates a subspace beyond what the retina registers, fracturing space-time experiences. 'Blink-by-blink,' the artist duo unveils an indeterminate destination illuminated with imperceptible happenings. AI generated images narrate speculative futures unlocked in kinship with software based co-dreamers. 'Neither here nor there,' an oscillating push and pull between the human-performers and their diffractive aura creates an unresolved cyborgian-world. Contention and flux are deliberate and persistent. In a high-velocity moment of cultural creation, 'blink' and you might miss it, whatever 'it' may be.
Rooted in the pop-sensibilities of contemporary techno-cultural vernacular and poetics, the resulting experiment is a series of kaleidoscopic artifacts and complex culmination of moving images—purposely and immediately outdating itself—provoking human/AI creative collaboration.
SKY'S EDGE (2024)
Video, 2min 10sec, In collaboration with Chris Corrente, 2023
“Sky’s Edge” explores the multidimensionality of screen space, teasing a near-future world where ‘screens without edges’ augment everyday experience; where humans and more-than-humans alike act as participant subjects in a digital cabinet of curiosities; where ephemera is glitch, and glitch becomes kitsch.
In an increasingly rootless and placeless world, “Sky's Edge” longs to restore narrative agency, connection, and belonging as an antidote to displacement, anxiety, and grief. Mixed fidelities and methodologies, from ‘handmade,’ ‘readymade,’ to ‘generative,’ cohere into the artist duo’s signature visual ethos and reflect how myths and knowledge bases influence individuals and create hybrid cultures. Inspired by the Korean literary tradition of “Gasa” travelogues, a poetry genre that touches on nature, beauty, virtues, and play popularized by women since the 15th century, the performance dramatizes the theatricality of natural and synthetic inseparability.
OF THE DAWN (2025)
Video, 2min 30sec, In collaboration with Chris Corrente, 2025
"Of The Dawn" explores liminal spaces where identity fragments and rebuilds itself, becoming porous, fluid, multiplicitous, and ever-evolving. Through a choreography of generated images and performative gestures, the piece examines what happens when the digital self splinters across infinite iterations, accumulating and collapsing into one another, creating a visual blob of alternate possibilities.
The work's deliberate sensory excess creates a vis-surreal experience, where boundaries between authentic human expression and algorithmic performance dissolve. The lyrics describe a speculative 'world without words' where hybrid entities—part human, part machine, part mythical creature—engage in a 'slow dance' of recognition and estrangement. This encounter becomes a metaphor for the post-digital condition in which existence spans multiple digital incarnations, each version embodying the familiar and the alien.
The rhythmic structure mirrors the stuttering temporality of machine perception, where moments of glitch serve not as errors but as necessary ruptures—temporal hiccups that reveal the sublime within the synthetic. "Of The Dawn" asks: In a world where our digital shadows multiply endlessly, which version of self do we choose to wild? The result is a haunting meditation on identity in an age where the self becomes a readymade, constantly remixed and reframed through the meme-performances of its own digital resonance.
NMC PRESENTS: NEW MUS XI | LEONCARLO | DUO AYA
LEONCARLO
Hailing from Denton, Texas, Leoncarlo Canlas is a musical educator & performing artist who draws from his experiences as a versatile violinist, and in-demand session musician to connect with fellow artists and audiences alike. As a solo performer, he favors the technique of live-looping to capture living pieces of music that create vivid symphonic soundscapes. Listeners can hear musical gestures evolve into avant-garde tapestries of movement that feel transcendent and yet still resonant with the spirit of a moment. As a collaborator, he has had the honor of sharing the stage & studio with a diverse range of artists spanning different genres, including internationally renowned musical acts. To connect with Leoncarlo, reach out to him at www.leoncarlo.com & through socials at @leoncarlo.
DUO AYA
Duo 彩 AYA (彩 AYA meaning “bright colors” and “vibrancy”) is an electrifying ensemble featuring flutist Rachel Woolf and marimbist Makana Jimbu. Their debut album Cycles, released on Neuma Records in Spring 2025, weaves together newly commissioned works by Evan Williams, Miriama Young, Fumihiro Ono, and Paul Millette, alongside classic repertoire by Ney Rosauro, Gareth Farr, and Makoto Shinohara. “Global and virtuosic,” (Am:plified Mag), Cycles is a mosaic of delicate phrasing, extended techniques, stylistic variety, intricate rhythms, and kaleidoscopic textures, that explores our shared ecological, culture, and creative landscapes. “An outstanding release…take a deep dive into Cycles so you can experience all it has to offer,” praises RAG Magazine. Pan M 360 emphasizes the duo’s “excellent technical and sensory performances,” and their power to immerse listeners in “accessible, colourful universes evocative of attractive panoramas, anchored in luminous tones.” The marriage of lyricism and rhythm, they write, creates “a duo with a great potential for evocative versatility.”
2025 Gold Medal winners of the Global Music Awards for Duo and Instrumentalist, Duo 彩 AYA has performed across the world including the United States and Japan, with appearances and masterclasses at The University of Texas at San Antonio, The University of Texas Rio Grande Valley, University of North Texas, Texas Christian University, and the University of North Carolina system (Chapel Hill, Greensboro, Wilmington, and Pembroke). Their artistry has also been featured in chamber music series in San Diego and on radio programs across the United States.
Rachel and Makana met as students at the University of North Texas, where they discovered their shared passion for collaborative performance. Through their innovative programming and commitment to global artistic dialogue, Duo 彩 AYA continues to redefine the possibilities of chamber music and inspire audiences worldwide.
NMC PRESENTS: NEWMUS X | A NIGHT WITH ELLIOTT LEVIN, SAXOPHONIST & POET
NMC PRESENTS: NEWMUS X | A NIGHT WITH ELLIOTT LEVIN, SAXOPHONIST & POET
Tickets Here: https://app.defytickets.com/eb12ut/yh02i6
YEAR 2.
Celebrating Two Years of Artist-focused Work at Dallas’s home for New Media and experimental arts
• SURPRISE performances • NEW MEDIA art auction • DJ wonderosso & VINYL selectors • 2026 SEASON opening •
Celebrating two years feels almost unreal. We built this space together—with curiosity, risk, collaboration, and a whole lot of love—and this anniversary is as much yours as it is ours.
Join us as we mark the moment with a night that pulls from every corner of our community’s creative energy:
• Surprise one-night-only performances popping up throughout the space
• A new media art auction featuring works from friends of the gallery
• DJ wonderosso and vinyl selectors shaping the pulse of the evening
• And the official opening of our 2026 season
Thank you for showing up for independent work, experimental voices, and everything we’ve grown into together. Let’s celebrate what we’ve made—and everything we’re about to step into next.
OPEN CODE
OPEN CODE — Live Coding + Vinyl Night
Every Thursday • 6–9 PM
Starting 12.4.25 at New Media Contemporary
We’re opening our doors every Thursday night for OPENCODE, a new weekly series inviting anyone! Artists, Coders, Musicians, the simply curious; to come create together.
Bring your laptop with your favorite coding environment, or just yourself.
Code in any program you like: Strudel, Max/MSP, SuperCollider, TouchDesigner, Hydra, Python, webGL, Sonic Pi, Arduino, AI-assisted coding—whatever you’re exploring, there will be someone else there who is into that too.
Each week we will have one or all of these things going on:
• Live-coded music
• Live-coded visuals
• Vinyl open decks
• A room full of people experimenting, sharing, and learning together
Network, vibe, and code.
Everyone is welcome. Every Thursday.
Come make something new with us.
V25:11 SCLPTR | OBSRVNG
NEW MEDIA CONTEMPORARY PRESENTS:
V25:11 SCLPTR | OBSRVNG
OBSERVING A DIGITAL WAR FROM ACROSS CONTINENTS
featuring:
MAC PIERCE
DAVID CHALLIER
KRISTEN COCHRAN
MAC PIERCE
Mac critically engages with weaponized emerging technologies, making artworks that examines topics that may otherwise fall into the shadows. Using technology as a medium to create artworks, his practice communicates concepts about computer hacking, surveillance, and firearms using the grammar inherent to these systems.
Mac received a BFA in Studio Art & Design from the University of Idaho and an MFA in Art & Technology Studies from the School of the Art Institute of Chicago.
KDR
2025
25” tall x 17” wide x 11” deep
OLED gaming monitor, acrylic, polished concrete, laser cut aluminum, vacuum formed ABS, 3D-printed ABS, modified monitor mount, Raspberry Pi Zero 2 W, stainless steel hardware, HDMI cable, USB-C Cable, 20v AC adapter, DC step-down converter, heat-set inserts, wiring, ghosts
Statement:
KDR (Kill Death Ratio) is a physical monument for virtual death. Combat within first person shooters presents death a central element of their operation. However, those deaths are only as a temporary setback. Every avatar can live an infinite number of lives given the player controlling them desires to return to the game, and thereby to combat. Winning these games is a matter destroying the opponents ability to meet the victory conditions, usually though killing their avatars in game.
The work takes the form of a gravestone made of modern materials with an embedded OLED gaming monitor. While the monitor is showing pure white, there is text visible on the display, a result of a single image being left on the monitor – causing burn-in.
The Effects of Celestial Mechanics upon Terrestrial Events
2025
~30” wide x 24” tall x 24” deep, install dimensions variable.
DJI Mini 3, Stick, 3D-printed ABS, fiber optic monofilament, Steam Deck™, found footage
Statement:
The broken drone in this piece was found crashed in downtown Chicago with its memory card intact. The video shown on the portable game console is from that memory card along with footage sourced from Ukrainian FPV drones. The two video sources, while taken across the world from each other, come from a similar machine that is controlled in the exact same way.
Untitled (army man)
A recreation of a toy found on the sidewalk, as it was found, scaled to the artists height.
2025 - 3D printed PETG, Loctite® 4070, Nylon threaded rod
65 x 48 x 18"
DAVID CHALLIER
David Challier (French, 1974 – Born in Grenoble and raised in the Alps Mountain) is an artist based between Dallas, Texas (USA) and Simiane-La-Rotonde, in the southern Alpes de Haute Provence (France). He currently serves as Invited Professor of Practice in Ceramics and Art at Southern Methodist University in Dallas.
Working across glass, ceramics, and technological assemblage, Challier creates works that oscillate between ancient artifact and futuristic relic. Drawing from geology, archaeology, architecture, and ancestral knowledge, his art investigates the fragile equilibrium between creation and erosion, nature and machine. His inspirations—rocky deserts, modernist design, mid-century architecture, Arte Povera, and Conceptual Art—inform a practice rooted in transformation and metamorphosis.
His material research laboratory, based in a former decommissioned nuclear missile launching site in Simiane-La-Rotonde, provides both a physical and conceptual framework for his explorations. It is within this charged environment—once designed for destruction—that he conducts experiments in matter, energy, and rebirth.
Using rough materials collected from mountain and desert landscapes, Challier composes hybrid bodies that merge natural and industrial matter. In recent years, he has expanded his practice to incorporate machine guns, army devices, and computer components, reimagining them as archaeological traces of contemporary civilization. These technological relics become both instruments and symbols of human progress and decay.
Through cycles of fragmentation, recycling, and reconstruction, Challier’s works embody a profound tension between destruction and rebirth—sculptures that appear unearthed from a distant past or projected from a post-human future, standing at the intersection of geology, technology, and memory.
TENSFORMATION
size of each set : is 24 x 24 x 12 inch
“My work explores the cyclical and metamorphic processes that exist in geology, archaeology, and the organic world. Through these lenses, I question our perception of time—human and non-human, historical and universal—and how these different scales of existence intersect and collide.
When presenting my work, I aim to engage viewers in a reflection on the long- and short-term consequences of human action—on both ecological and societal levels. My installations, whether composed of single pieces, paired objects, or larger serial arrangements, invite a dialogue between material, space, and audience. The transformation of my objects into sculptures occurs in this exchange—when perception and presence merge.
Drawing from my artistic and scientific background, and grounded in ceramic research, I develop surfaces and structures that record their own formation. The cracks, tensions, and scars preserved within each piece become an intrinsic fourth dimension—a physical record of time’s passage and the forces that shaped it.
The tactile sensuality of the surfaces, the exposed “skins,” and the skeletal or structural layers within the forms are central to my language. The skin, as the boundary between interior and exterior, body and world, embodies the notion of the present moment—the threshold between existence and disappearance.
By working with ceramics and hybrid materials—often integrating technological or military fragments such as machine parts or digital components—I treat my sculptures as contemporary testimonial fossils. They stand as traces of our era’s material and ideological transformations, simultaneously fragile and enduring.
Ultimately, my work seeks to inhabit the tension between destruction and rebirth, between erosion and reconstruction—echoing the deep temporal rhythms of the Earth and the fleeting pulse of human civilization.”
KRISTEN COCHRAN
An artist living in Dallas, TX, originally from Portland, OR, she moved to Texas to complete her MFA at Southern Methodist University (2010). In addition to exhibiting her work, she has been awarded residencies in NY, Austria and Wyoming and completed a year-long residency at The Center for Arts and Medicine at Baylor Hospital (2018). Ms. Cochran is a newly appointed Associate Professor in the school of Arts, Humanities and Technology at The University of Texas at Dallas and has taught extensively in the Dallas-Fort Worth community at local museums including The Nasher Sculpture Center, The Modern Art Museum of Fort Worth and The Dallas Museum of Art. Recent exhibitions include Life Support @PRPagency, fare well at The Nasher Sculpture Center (Dallas, TX, *work acquired), to sometimes disappear at the NARS Foundation (Brooklyn, NY), Tender and Fierce (Artpace, San Antonio,TX) and chromasoma at Barry Whistler Gallery (Dallas, TX) among others (see CV). Ms. Cochran was recently awarded The Dozier Travel grant from The Dallas Museum of Art (2022) in support of her project Private Islands, an ongoing body of work she began in residence in Brooklyn in the Spring of 2021.
“Through sculpture, print, video and installation my practice points to the traces and residues of humans’ best efforts, the tragicomic nature of daily laboring and the passage of time. Socio-economic disparities, workplace politics and the relationship between basic needs and transcendent desires are embedded in the materials with which I work.
Fruitfulness and futility, making a living and being on the clock are conceptual interests related to human performance, identity, perceived value and access to resources. ‘Dreamtime’, bodycare and mental health are additional points of research that reflect my studies in anatomy, physiology and therapeutic massage.
These interests have materialized variously as ink blot ‘lounger’ paintings, suspended time chimes, island slideshows and sausage sculptures dangling in suspended states. My work is often site responsive and humor is used as a framework for more serious psycho-spiritual and socio-political concerns.”
500X Takeover
New Media Contemporary & 500X present
25:10 — A 500X TAKEOVER of NMC
Starting on September 26, and going through the month of October, 500X and its members will be taking over NMC. Please join us for a reception on 9.26.25 from 7pm till 11pm to welcome 500X back to Expo Park.
500X Gallery is one of Texas’ oldest, artist run, cooperative galleries. Established in 1978, 500X provides one of the best exhibition spaces to up and coming artists in the city of Dallas. 500X has served as an entry point into the art world and have subsequently become prominent artists in the Metroplex.
Ashley Whitt
Ashley Whitt is a multidisciplinary artist based in Dallas, Texas, whose work delves into themes of body horror, psychological states, and feminism in the digital age. Whitt draws inspiration from horror films, the Monstrous-Feminine theory proposed by Dr. Barbara Creed, and art historical movements including Surrealism and Dadaism. She employs various media and techniques—including digital manipulation, solvent transfers, sculptural bookmaking, and traditional darkroom processes as well as video and sculpture—to create visceral, dreamlike imagery that challenges perceptions of reality.
Ashley graduated from Texas Woman's University where she earned her MFA in Photography in 2012. She graduated from UT Arlington with a BFA in Photography in 2009. Formerly a professor of photography and art, Ashley served as a full-time Lecturer at Texas Christian University during 2017-2018. Ashley currently serves as the Director of Visual Resources at Southern Methodist University. She is also the president of 500X Gallery, the oldest artist run gallery in the state of Texas. She also co-founded ART Y’ALL, which offers curated art experiences that bring the DFW community closer to the creative pulse of North Texas.
————-
MEAT CLOWN rips out of the gap between what we live and what we’re forced to swallow. In post-Roe Texas, our bodies are treated like evidence—watched, dissected, criminalized—while our feelings are policed into silence. We’re told to smile through it, to be cute while bleeding, to laugh when commanded and choke down our rage. MEAT CLOWN spits in their face. It feeds on disgust, on fury, on laughter so sharp it cuts.
The clown shifts from joke to threat to horror. The grin stretches too wide, the paint smears into skin, and the performance collapses into raw flesh. It doesn’t heal, it doesn’t resolve—it rips the wound wider. MEAT CLOWN is grotesque, excessive, impossible to contain.
MEAT CLOWN is the body refusing control.
Image List:
A Pie in the Face, 5 minute video on 55 inch TV screen looped, 2025, NFS
Of Flowers and Flesh, 5 minute video on 8 inch CRT tv screen looped, 2025, NFS
MEAT CLOWN, fake cake made with spackle, acrylic paint, styrofoam, 2025, $600
Jamila Mendez
a multidisciplinary artist combining painting, photography, and fabric. Her collage-based acrylic and digital work is influenced by early training and studies at Texas Woman’s University in Fashion Design and Art.
Praise Dancer -
Moments of exhalation crystalized in patterns and floral.
A self Portrait ( Jamila) -
The process of making a self portrait is always full of layers. You have to disassemble what you see and reassemble it as well, and then you must evaluate if you saw yourself correctly.
Emmar Grant
a Texas-based filmmaker whose childhood road trips shaped his view of film as a space for memory. A UT Arlington graduate, he works in film, video, and gallery-based new media.
Barn Shaped House, 2025 (1st vertical)
An animated character, Mercy, laments the destruction of their childhood home. Based on the author’s experiences.
Synthetic video, vertical presentation.
Mantra, 2025 (projected on the arch)
A triptych, projection based, synthetic video installation. Three characters, wander a world full of media and distraction. The Driver, the Empress, and the Cat.
Synthetic Video.
Vipassana, 2022 (2nd vertical)
A meditation on the nature of meditation. Filmed in the house mentioned in Barn Shaped Home. The narrative takes us on a path of distraction, and then reversion to meditative breathing.
Video, vertical format.
Monica Barrera
an artist and educator with 15+ years in the DFW arts community. She teaches elementary art and creates work across drawing, painting, embroidery, weaving, and sculpture, examining the human condition through an existential lens.
Jesse’s Girlfriend, 2025
Hand-drawn animation transferred to VHS, silent, looped
Little Worlds, 2025
Time-lapse of digital drawings, color, silent, looped
Kiara Daniels
Kiara Daniels was born in Fort Worth, Texas in 2001. She received a BFA with double majors in Studio Art: Drawing and Painting and Art Education in 2024 from the University of North Texas. She also received a teacher's certification in Art from the Texas Educator Association. She is currently a member of 500x Gallery. Daniels has exhibited locally in the DFW area since 2020 and has collaborated with the Bombshell Dance Project in Dallas and the Garage Arts Project in Frisco. She lives and works in Fort Worth with her cat.
Artist Statement:
Photography and writing has emerged as a parallel process with my artistic research. Language and its rhythms help me decide which beats to emphasize to employ narrative acting as a parallel form and a form of drafting images. Color has acted as a bridge. Color has been instrumental in this process, as I navigate the way perception shapes memory. Digital photography helps me push the high saturation and saccharine hue which obscure the reality of the situation; color serves as an access to the shifting landscape beneath. My work continues to navigate grief and perception, taking from personal and research I investigate how memory and trauma affect the movement of time.
Projected piece with curtain illustration: – with me in my mind, digital collage and installation. 2023.
Projected piece: Matched Set, digital collage. 2025.
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NMC [Workshops]: Sonic Imagination— Reframing Musical Process Through Artificial Intelligence
This workshop and salon explores AI music through hands-on creation, shared listening, and dialogue on its technical and ethical dimensions. Bring your AI compositions or prompt ideas to share, or just come to learn.
NMC @ NOISE_Media Art 2025
New Media Contemporary is thrilled to bring the cutting-edge works of Eric Trich, Diana Rojas, Zak Loyd, Jiatong Yao & James Talambas to NOISE_Media Art Festival, September 17–21 at Istanbul’s vibrant Yapı Kredi bomontiada. This inclusive, boundary-pushing media art platform—running alongside the Istanbul Biennial—showcases immersive installations, audiovisual works, and experimental sound in a transformed historic beer-factory cultural hub. We can’t wait to share this journey with you! #NewMediaContemporary #NOISE2025 #MediaArt
![NMC [Workshops]: Contemporary Performance Art—Exploring Technology as a Liminal Space](https://images.squarespace-cdn.com/content/v1/6553e74bedc2c9422ae6aad8/1750796085236-982ESZHQIECQXH98Y5WN/IMG_3254.jpg)
NMC [Workshops]: Contemporary Performance Art—Exploring Technology as a Liminal Space
This three week workshop examines how technology creates a speculative and transformative space for performers. We will explore key questions, such as how the camera mediates the relationship between performer and audience, and how technology influences and reshapes performative actions. Through concept ideation, creative mapping, hands-on exercises and discussions, participants will experiment with strategies including video projection, performing for and against the camera, and integrating technology into their practice. The workshop culminates in a series of short performances, showcasing each participant's exploration of technology as a liminal space in performance art.
NMC PRESENTS: NEW MUS IX - SENSO DI VOCE | LISA CAMERON
NMC PRESENTS: NEW MUS IX - SENSO DI VOCE | LISA CAMERON
Tickets: https://app.defytickets.com/a4tcaj/gzslwt
SENSO DI VOCE
Senso di Voce focuses on the embodied experience of varying acoustical phenomena:
Esin Gunduz
(voice, composition, tremolo harmonica, bass harmonica, harmonium, electric keyboard)
Megan Kyle
(oboe, English horn)
Implementing the unique acoustic properties of their instruments and of the performance space, they create otherworldly performances that reveal the interconnected timbral threads among new music and early music from diverse cultural traditions. This, combined with improvisation and movement, brings audiences into an immersive experience that transcends expectations.
Their album Tierceron, with Henry Birdsey (of Tongue Depressor), was released by Other Minds Records in July 2023. Senso di Voce is the recipient of a Chamber Music America Commissioning Award, from which was born a new piece by Esin that is featured on their upcoming album Through Itself from Sonic Transmission Records.
Esin Gunduz
Sound originates in the body for composer, vocal performer, and improviser Esin Gunduz. Originally from Istanbul, Turkiye, she explores life’s energies as vibrations, timbre as visceral sensory experience, building landscapes from recorded-voices to surround acoustical instrumental textures, creating breathtaking acoustic vistas that have an unveiling quality. Her works span mediums and diverse contexts: acoustic / electroacoustic, live - chamber music - improvisation / sound design - installation - or music for theater / moving image. They shine a light on the multiplicity and unity, the psychological and spiritual overtones of our lives and life itself.
She had her works performed around the UK, in Reykjavík, Berlin, Rome, Istanbul, Montréal, NYC, Philadelphia, and other cities. Her work in close collaboration with London-based mezzo soprano Rosie Middleton: En-he-du-an-na-me-en (2020) got ten performances around Europe with excellent reviews. Her Chamber Music America Classical Commissioning work ‘...through itself…’ ©2023 will be released from Sonic Transmissions Records on Sept. 12
Having lived in Austin TX for more than a year, Esin is a big fan of (not only the Texan avant-garde music scene but also) its musicians and their generous ways of living, relating, and sharing. – https://esingunduz.com/
Megan Kyle
Oboist Megan Kyle performs as a soloist, improviser, chamber musician, and orchestral musician throughout Western New York, with a particular interest in resonances between early and recent music.
Megan is a member of the Rochester Philharmonic Orchestra. She is a regular substitute with the Buffalo Philharmonic Orchestra, and has also appeared with the St. Louis Symphony, the Charleston Symphony Orchestra, the Tucson Symphony Orchestra, and the New World Symphony in Miami, among others. As a chamber musician and new music specialist, Megan performs and creates with new music ensemble Wooden Cities, musical research group Null Point, voice/oboe duo Senso di Voce, and oboe/piano/violin/cello quartet The Evolution of the Arm.
Megan teaches oboe and English horn at SUNY at Buffalo. She holds degrees from DePaul University, Oberlin Conservatory, and Oberlin College, where she studied with Eugene Izotov, Robert Walters, and Alex Klein.
LISA CAMERON
Lisa Cameron (aka Venison Whirled) is from Austin, Tx. Using amplified/acoustic percussion and strings, she locates resonant frequencies in space to create oscillating overtones, which are then employed as sound sources for live improvisation.
She has improvised live with Jandek, Mani Neumier, Eugene Chadbourne, Ingebrigt Haker-Flaten, Mike Watt, Jaap Blonk, Faust, Ernesto Diaz-Infante, Claire Rousay, Alex Cunningham, Damon Smith, Jessica Ackerley, Eli Wallace, Sandy Ewen, Raquel Bell,Tom Carter, Nathan Bowles, Fritz Welch, Sandy Ewen, Thor Harris, Jonathan Horne, and others.
Visit https://linktr.ee/lisaca99 for direct links to music and video.
In 2013, for the New Media Art and Sound Summit,in Austin, Texas, she composed and directed "Canopy Of Sound",involving 12 suspended cymbal players in an outdoor dynamic context.This led her to form Ommmg,an ongoing acoustic percussion group with ritualistic overtones.
Lisa has turned her attention recently to making instruments and then learning how to play them.In January of 2018 she performed solo with homemade sound sources at the Blanton Museum of Art. In 2018 she was commissioned by Cloud Tree Gallery in Austin, to create an installation which became a joint effort with artist Brian Johnson. Entitled "Thee Mortal Coil",the sound sculpture consisted of a 20 foot tall spiral tube that incorporated ball bearings with timed bursts of pneumatic pressure, amplified by contact microphones routed through a mixer.
In 2023 she received the 2023 Austin Chronicle Award for “best drummer and percussionist”
She also plays drums with various rock bands:
ST37, Suspirians, percussion with Future Blondes, and Three Day Stubble, and played guitar in The Devil Bat and Devil Bat's Daughter.
https://lisacameronsisterskullrekkids.bandcamp.com/
NMC PRESENTS: NEWMUS VIII - HAL LAMBERT | OBSCURESS
NMC PRESENTS:
NEWMUS VIII - HAL LAMBERT | OBSCURESS
Tickets Here: https://app.defytickets.com/y9pvuf/ebe93c
HAL LAMBERT
Hal Lambert plays improvised music inspired by drone, noise, and psychedelic rock. Based in South Louisiana, he has released recordings on his own Tentative Power imprint, Island House Recordings, NO LABEL NZ, and Dadaist tapes. Reviews have compared his music to the free rock of The Dead C, a mellowed out Orcutt-Corsano duo, or Sonic Youth tuning up their guitars.
https://dustedmagazine.tumblr.com/post/736437316666654720/hal-lambert-and-mitchell-mobley-the-a-z-of
OBSCURESS
Obscuress, the duo of Christina Carter and Spencer Dobbs, is a daedal blend of veiled minimalism, auditory portière, and vested text. Having long supported each other’s individual work, Obscuress brings Carter and Dobbs together for the first time, working through their distinct voices, electric guitars, lap steel, mouth organ, keys, and sampled noise to compound original songs for this dedicated project.
Christina Carter, a founding member of Charalambides, is known for her improvisational vocals and guitar work, which have been central to her solo career and numerous collaborations. Her music often explores themes of solitude, spirituality, and emotional sonority, incorporating elements of poetry and visual art. Carter’s discography includes both solo projects and collaborative works that push the boundaries of conventional song structures. Her latest release is For Want of Walls (Unifactor 2024), a book of watercolor paintings and writing.
Spencer Dobbs' eremitic work in song has been described as "beautiful, deep, desperate, drunken late-in-the-night folk music." His releases are collected under the Texas Archives imprint.
NMC PRESENTS: NEWMUS VII - ROB MAGILL | SYBIL JAY
NEW MEDIA CONTEMPORARY PRESENTS:
NEW MUS VII - ROB MAGILL | SYBIL JAY - SOUND AND VISUALS | AUGUST 1 7P | $20 OR PAY WHAT YOU CAN
https://app.defytickets.com/tqijlc/tlkopz
ROB MAGILL
Composer, multi-instrumentalist, poet, painter and label-owner residing in Southern California with nearly 50 albums in the works. -DRAG CITY RECORDS
"There is an attractive weirdness to the music of Rob Magill. With more than 80 recordings in his discography, his music is as diverse and hard to classify as the flora and fauna of the Amazon.”
“Remarkably focused, revealing a patient glimmer, and erupting only when absolutely necessary”
SYBIL JAY
Sybil Jay is an electronic artist living in Denton, TX. She combines processed vocals, beats, and drone to channel the energies of the local daemonia. Her current work is in conspiracy with the natural world.
NMC NEW MUS VI - SANDY EWEN | SARAH RUTH | HEXPARTNER
NEW MEDIA CONTEMPORARY PRESENTS:
NEW MUS VI - SANDY EWEN | SARAH RUTH | HEXPARTNER - SOUND AND VISUALS | JUNE 6 7P | $20 OR PAY WHAT YOU CAN
tickets: https://app.defytickets.com/il0z3l/q8jhlx
SANDY EWEN
Sandy Ewen is a sound artist, visual artist and architect who has recently relocated to NYC from Houston, TX. Ewen’s audio practice focuses on extended guitar techniques, improvisation, graphic scores and interdisciplinary collaboration. Her unique approach to guitar incorporates a wide array of implements – railroad spikes, sidewalk chalk, threaded bolts, steel wool and other items become an arsenal of abstraction. Ewen has worked extensively with film makers, dancers, poets and musicians to create films, audio recording, sound interventions and performance art. Ewen’s musical collaborations include trio Etched in the Eye, duo with Tom Carter called Spiderwebs, the trio Garden medium, and ongoing collaborations with percussionist Weasel Walter and bassist Damon Smith. For nearly ten years, Ewen has been the leader of an all-female large ensemble. The ensemble conceptualizes and performs sound and performance art, utilizing graphic and text based scores and improvisational constraints. The ensemble performed with an amplified bathtub at Diverse Works in 2016, and performed a suite of installation-specific compositions for Francis Alÿs’ Fabiola Project at the Menil. Sandy has spent much of 2017 touring, performing solo sets and in collaboration with Steve Jansen (tapes and electronics) and Maria Chavez (turntables) around Europe. In years past, Ewen has performed alongside Roscoe Mitchell, Keith Rowe, Lydia Lunch and many others, and has performed and recorded with Jaap Blonk, Henry Kaiser and more. In 2014 she performed at San Francisco’s 13th Annual Outsound New Music Summit, and she has made several appearances at Austin’s annual No Idea Festival.
Born in Toronto, Canada in 1985, Sandy Ewen received a Bachelor of Architecture from the University of Texas at Austin in 2008. Since then she has resided in Houston, TX where she pursues musical and visual projects and her architecture license. Ewen has released several albums, including a duo with guitarist Tom Carter, a trio with bassist Damon Smith & drummer Weasel Walter, and a rock album with Austin’s Weird Weeds. Ewen’s visual work is closely tied to her work in sound; she uses both mediums to explore texture, composition and materials.
Ewen’s microcollages, enlarged through projection and digital printing, are an exploration of material and technique. Using a unique process pioneered by the artist, natural materials and polymers are torn, liquefied, scorched, melted, cut, and fused. When enlarged, the microscopic nuances of these manipulations are manifested in exquisite detail. Ewen has presented prints of her work at 14 Pews (2012), Spacetaker/Fresh Arts (2012), Khon’s (2013) & Galeria Regina (2014).
As an improviser in both art and music, Ewen sees herself as guiding materials and space rather than executing a preconceived composition. “I like to explore mediums and materials and tease out their essence,” says Ewen. “Working with slide projections has focused my eye on the subtitles of natural processes of decay and transformation. Through my work, I am asking questions of the materials rather than dictating answers.”
SARAH RUTH
Sarah Ruth Alexander is a diverse musician and artist – a multi-instrumentalist, she employs hammered dulcimer, harmonium, electroacoustic sound art, and extended vocal techniques. She performs frequently both solo and with multiple bands and improvisational ensembles in the North Texas area. She is a University of North Texas graduate where she focused on vocal studies and electroacoustic composition. She has also studied with Meredith Monk and members of her vocal ensemble.
She enjoys varied collaborations and has worked as a sound artist for art and photography installations and an accompanist for modern dance. She has performed with Damon Smith, Tatsuya Nakatani, Jaap Blonk, Liz Tonne, Sarah Gamblin, Rosemary Candelario, Susan kae Grant, Lisa Cameron, Tom Carter, and Aaron Gonzalez, to list a few. She tours nationally and her recent albums have been released on Sawyer Spaces, Obsolete Media Objects, Balance Point Acoustics, Pour le Corps Music, and Linda Hand.
Sarah hosts a radio program called Tiger D on KUZU LP broadcasting in Denton at 92.9 FM and streaming online at kuzu.fm, playing music and often featuring guest musicians to curate and discuss their playlists. She recently had a chapter titled “Community Building Through Collaboration,” published in Routledge‘s Art as Social Practice: Technologies for Change.
HEXPARTNER
Hexpartner is a neoclassical darkwave composer and performer based in Austin, TX. They are fascinated by electroacoustic composition and combine synthesizers with string instruments and layered vocal harmonies in their work. Hexpartner has opened for a variety of diverse acts (including Mortiis, The Body, and Glass Spells) and bards at The Tiny Minotaur Tavern in Austin.
NMC NEW MUS V - VERONICA ANNE SALINAS | DEREK ROGERS
NMC PRESENTS: NEW MUS V - VERONICA ANNE SALINAS | DEREK ROGERS
TICKETS HERE: https://app.defytickets.com/sljbch/ayy9he
VERONICA ANNE SALINAS
Veronica Anne Salinas is an interdisciplinary artist, curator, educator, writer, and Deep Listener currently based between Chicago, IL and Texas (US). She works at the intersections of art and creative research in ecology, sonic arts, text, archives, magic, sculpture, video, and performance. Her interdisciplinary projects explore embodied sonic experiences, the tension between becoming and unraveling, ecological and landscape forms, and the poetics and politics of space. Her work in sound focuses on soundwalks, field recording, text scores, composition, multichannel audio, improvisation, live performance, and Deep Listening. Veronica’s interest in Deep Listening emerged during an artistic growth period in Houston, Texas with mentor David Dove and the organization Nameless Sound, formerly the Pauline Oliveros Foundation, Houston. As a dedicated listener and teaching artist, Veronica connects with people and organizations to nurture the growth of listening as social practice.
She has participated as an artist and researcher in various projects including: Tallgrass Prairie National Preserve, Midwest Society for Acoustic Ecology, Boyle Labs Art + Ecology, Tablelands Center for Bioregional Art, South Shore Nature Sanctuary, American Religious Sound Project, Cyborg Mestiza: Borderland Feminism Today + Tomorrow, Ragdale Foundation, New Music Gathering, Roman Susan, National Museum of Mexican Art, Rice University’s Center for Engaged Research and Collaborative Learning, Lincoln Park Conservatory, and the Chicago Park District.
Veronica has held residencies with the Bemis Center for Contemporary Arts, Ragdale Artist Residency, Tallgrass Artist Residency, Experimental Sound Studio, Outer Ear Residency with the Cultural Office of the Embassy of Spain, Poor Farm Experiment, and the Vermont Studio Center.
She is a co-founder and artistic director of Tierras Sonidas, an annual sound art festival in Marfa, TX, a facilitator at Campbient, and currently serves on the board of directors for the Midwest Society for Acoustic Ecology. She studied Deep Listening at the Center for Deep Listening at Rensselaer Polytechnic Institute and holds an MFA in Sound from the School of the Art Institute of Chicago. WEATHERING is her solo ambient project and is on the label S/N.
veronicaannesalinas.com
DEREK ROGERS
Derek Rogers (b. 4 September 1980) is a Dallas-based musician active in electronic composition, drone, free-improv, ambient, and noise textures. He utilizes computer processes as well as traditional instrumentation and field recordings to create emotionally resonant work, tending toward long forms and soundscapes. Rogers works predominantly as a solo artist, with some 50+ albums released since 2007. Recent collaborations include projects with musicians such as Dennis Gonzalez, A.F. Jones, and Lee Noble.
derekrogers.bandcamp.com
NEW MUS IV - MSHR | T PUTNAM HILL | PILOT - STEVE JANSEN + REBECCA NOVAK
New Media Contemporary presents:
NEW MUS IV - MSHR | T PUTNAM HILL | PILOT - STEVE JANSEN + REBECCA NOVAK
TICKETS HERE: https://app.defytickets.com/pdmh3g/ly7irp
MSHR
MSHR is an art collective founded by Brenna Murphy and Birch Cooper in 2011 in Portland, Oregon, that collaboratively builds and explores sculptural electronic systems. Their performances and installations integrate electrical signals and human presence, weaving dense networks of causality to form audiovisual environments that babble with life-like current. They explore intuitive and technical gradients between sonic and sculptural forms, using analog circuitry and open-source software to sculpt mutually resonant hyperobjects.
T Putnam Hill
T Putnam Hill is a writer, editor, guitarist and electroacoustic musician currently based in Austin, Texas. In recordings and performance, Hill produces impromptu audio collages of various sound materials—from live guitar to field recordings to feedback loops—to create auditory environments that drift between stasis and disorder, from harmonic to discordant, and from the organic to synthetic.
Hill is an active member of Phonography Austin, a sound arts organization dedicated to the exploration of phonography and acoustic ecology, and founder of Loma Editions, a nascent multimedia label focused on electroacoustic music and experimental literature.
Rebecca Novak
Improviser and artist Rebecca Novak works with a shifting constellation of instruments and objects - cornet, piano, shortwave radio, glass vases - honing fine-grained textures and seemingly electronic- or mechanical-sounding noise, opening a multifaceted landscape of sound.
Interrogating the liminal spaces between sound, vision and language, my work often combinesmusic with sculpture, live writing, or projected image to investigate the complex relationships between environment & self, performance & being, body & object, the political & the philosophical. Called Annotations, these group-navigated improvisations refer both to a way of "annotating" or translating an experience or idea across practices, and an absence of traditional notation.
NMC NEW MUS III - KORY REEDER - VESPERS a 24 hour performance.
Tickets Here:
https://app.defytickets.com/elwivq/cgxp0n
LiveStream Here:
https://youtube.com/live/BXG5hH5TwN8?feature=share
New Media Contemporary Presents:
NEW MUS III VESPERS
24 hour Composition and Performance written by composer Kory Reeder.
from April 18 at 7PM till April 19 at 7PM
Tickets starting at $20 or pay what you can.
Via link in bio or discretely at the door.
Performers featured:
Kory Reeder, JT Baker, Victoria Donaldson, Miguel Espinel, Ernesto Montiel, Jacob Thedie, James Talambas, Joseph Reding, Sam Ash, Daviel Davidson, Nico Clark, Sarah Ruth, Kathy Crabtree, Michael Moore, Louise Fristensky
Vespers is a 24 hour long composition structured on the liturgical hours and full of poetic references to composers, musicians, other musics, poetry, and painting. With an ensemble cast of over 15 musicians from the DFW experimental, contemporary, classical, and jazz scenes, Vespers places everyone together, rotating in shifts, to build a work that stretches perception, pushes the limits of endurance, and turns presence of mind into a connection with the cosmic.
Kory Reeder is an American composer and performer whose work blends influences from visual art and political theory. His introspective music, described as having a “rarefied atmosphere” (Bandcamp), explores objectivity, immediacy, and the social aspects of musical interaction. His compositions span symphonic and chamber works, field recordings, text scores, and computer-assisted improvisations.
Hailed as “one of the most captivating composers in modern classical music” (Dallas Observer), Kory’s music is performed worldwide in concert halls, festivals, academic spaces, and unconventional venues. A dedicated collaborator, he has worked with opera, theater, and dance, as well as noise, free-improv, and new media artists, pushing creative limits (Chamber Music America). He has held artist residencies at Arts, Letters, and Numbers, The Kimmel, Harding, Nelson Center, and several national parks.
V 25:4
NMC Presents
"V 25:4 Emerging Artists 2025
+ Art Fair After Party"
UNDERGRAD — MASTERS — RECENT POST GRADUATES
CUTTING EDGE NORTH TEXAS BASED ARTISTS
WORKING AT THE INTERSECTION OF TECHNOLOGY + ART
FEATURING
Mckee Frazier
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Mckee Frazior was born in 1979 in Corpus Christi, Texas, and has yet to reach his life expectancy. While working towards that goal, he attended the University of Texas at Austin (BFA 2002) and Southern Methodist University(CMA 2005), receiving some papers from both. He has exhibited himself and others across Texas, never receiving a citation for doing so. Under professional guidance, Mckee is currently pursuing an MFA in New Media at Texas Christian University(expected 2025). He exists geographically, mainly in Arlington, Texas, playing with drawing, software, sound, video, text, interactivity, stickers, arrays, and the space between wards.
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LTTXT
2025
canvas
36 × 36
Mckee Frazior is a hypermedia artist whose work explores technology’s role in our culture, focusing on the ephemeral artifacts and interactions spawned by digital systems. His practice highlights themes of awkwardness, confusion, play, laughter, and mild anxiety—emotions that emerge from our constant entwinement with electronic devices and the Internet. Mckee Frazior is momentarily obsessed with QR codes and his personal devices.
Colin Stokes
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Colin Stokes is a cellist, composer, visual artist, and researcher focused on artificial intelligence in computer music systems design. Colin is a PhD candidate at The University of North Texas, where he works with Jon Nelson, Marco Buongiorno Nardelli, David Stout, and Panayiotis Kokoras. He also holds degrees in cello performance from The Juilliard School and the Eastman School of Music. As a cellist, Colin tours actively with the Berlin-based electronic group Symphoniacs, and the American based contemporary music ensemble Zohn Collective. His music can be heard on more than 20 albums released by Universal Music/Polydor, Warner Music Japan, EMI, Neuma Records, and others. Colin’s visual work will also be shown at Currents Festival 2025 in Santa Fe, NM.
He has shared the stage with artists ranging from Yo-Yo Ma, Gidon Kremer, and John Williams, to Lady Gaga and Chaka Khan and his performances, broadcasts, and streams have been seen and heard by tens of millions of people worldwide.
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mond (flicker)
2025
live, interactive audio and video, resonating box
dimensions are variable
❝ mond (flicker) has developed from my work in recursive audio-visual systems, in which audio and video both respond to, and effect change on each other. The system is performed with controllers, and a capacitive, touch-sensitive resonating box. ❞
Kristen Duong
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Kristen Duong is a multidisciplinary artist and visual art performer pursuing an MFA in Creative Practice at the University of Texas at Dallas. With a background in communication design, she specializes in graphic and motion design, illustration, and photography. Her work explores the intersection of time, space, emotion, and technology through interactive systems, generative visuals, and sound. Through immersive and poetic experiences, she reflects on the unspoken layers of consciousness, the shifting nature of perception, and the challenge of expressing what often feels too complex to articulate.
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Quiet Drift, Endless Time
2024
digital video and monitors
03:16 minutes; 640x480 resolution
PoemWhat does it mean to live a full life?
Such wisdom escapes me still.
My desire to grasp the world’s beauty
So much more, so little time left.
How much longer will this body hold my spirit?
I envy the jellyfish,
Living for ages in quiet drift—
Will they witness what we never will?
History, future, endless time to fill.
Here, I drown
In fear, anxiety, and grief
I long to be free-floating like a jellyfish
Not knowing its loneliness for eternity.
❝ Kristen Duong is a multidisciplinary artist who explores memory, connection, and embodiment through interactive and digital media. Grounded in a human-centered approach, Duong uses technology not as a tool for data or control, but as a poetic medium—capable of expressing the intangible and emotionally resonant.Their practice incorporates generative systems, audiovisual installations, and sensory-based interactions to create contemplative spaces that evoke stillness, slowness, and intimacy. Duong’s work often transforms inner emotional landscapes into shared experiences, inviting viewers to reflect on the subtle textures of feeling and memory.
In Quiet Drift, Endless Time, Duong combines animation, ambient video, sound design, and poetry to reflect on the impermanence of life and the complexity of human emotion. Anchored by a meditative spoken poem, the piece explores themes of longing, fear, and wonder while asking what it means to live meaningfully in the face of time’s passage. The work offers a gentle, immersive space where personal reflection meets collective resonance—bridging solitude and shared understanding. ❞
Brenda Vega
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Ecuador, born in 1984.
Brenda (she/her) is a Visual Artist from the Andes.
In 2016, Brenda was awarded the Troika Photography Prize in London for her multimedia work 'Interfaced Nature.' She participated in artist residencies like SIM Residency Reykjavík (2019), Lumen in Italy (2018), and No Lugar in Quito (2017). Brenda completed her MA in Photography at the University of the Arts London in 2016. From 2019 to 2023, Brenda taught art full-time at the Universidad San Francisco de Quito in Ecuador. In 2022, Brenda was awarded the prestigious Fulbright Grant for Faculty Development in Ecuador before embarking on a Ph.D. in Visual and Performing Arts at the University of Texas at Dallas, which is her current pursuit. She now resides in Richardson, Texas, with her husband and dogs, Bruno and Dorita.
www.brendavega.com
https://www.instagram.com/brendavegaphoto/ -
Dimensional Bodies, Drawing Air, Painting on Paper, Automated Version
2024live performance, computer, arduino, TouchDesigner, CNC Plotter, photographic developer, brush, black and white photographic paper
dimensions variable
As a migrant artist weaving through different cultural and technological spaces, her work bridges the analog, the digital, and the organic by merging media such as alternative photography with live performance. Through direct engagement with cybernetics, she encourages a dynamic interplay between her presence and computational processes, interfacing directly with the machine via physical movement, personifying a concept called ‘the mestiza cyborg.’This exploration materializes through a CNC plotter as a photo-developing machine. Her real-time hand movements are converted into XY coordinates and sent to an Arduino-controlled mechanism that dispenses photographic developer into a brush with a dripping system that pours the chemical onto light-sensitive paper. During her performance, she moves her hands in ways that reflect her memories—distant landscapes intertwined with the possibilities and limitations of her body, her site of resistance.
How do we translate the body as a site of existential and political emergence? The answer lies in an ongoing negotiation of social identities that are fluid, continuously shaped by lived experiences, enacting what Latinx philosopher Mariana Ortega describes as the “being-between-worlds”; a multiplicitous self that found a method of survival by navigating the different environments that art and technology provide—exploring telepresence by pushing the corporeal boundaries, rethinking the definition of a human who experiences marginalization in the 21st century.
Shahrzad Talebi
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Shahrzad Talebi is a composer, sound artist, and educator from Tehran, Iran. Her music draws inspiration from a wide range of human experiences, from personal to political, and poetry. Characterized by dense and complex textures, her work is focused on timbre as a means for exploring new soundscapes, color, time, space, and concepts. Her compositions has been recognized and performed at the Electronic Music Midwest Festival, Splice Festival, Taproot New Music Festival,
Toledo Symphony Orchestra reading session, BGSU MicroOpera, Fifteen Minutes-of-Fame (Drew Hosler), the electroacoustic music competition “Reza Korourian Awards”; and has been performed by Unheard-of//Ensemble as part of the Klingler ElectroAcoustic Residency, Splinter Reeds and The _____ Experiment Ensemble.
She holds a bachelor’s degree in composition from Tehran University of Art and a master of music from Bowling Green State University. Currently, she is pursuing a Ph.D. in composition at the University of North Texas as a teaching fellow.
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A Detour, Invalid Light by Mistake
2025❝ In creating “A Detour, Invalid Light by Mistake”, I used Stable Diffusion and Stable Audio models as expressive tools to convey the personal emotions I was experiencing during that time. Integrating Stable Diffusion into TouchDesigner allowed me to interact with the model in real time, giving me control over prompts as well as the nuanced manipulation of input and output. I found this dynamic collaborative AI-artist workflow thrilling, as the model expanded my vision in unexpected ways and enabled me to bring my abstract imagination into my work. Another aim of this composition was to explore the abstract realm with models that are underexplored in typical AI usage. As I see a lot of potential for this workflow I plan to compose more pieces using this process. ❞
Alicia Parham
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The objective of my body of work has been to explore the intersectionality of fine art and neuroscience. This work explores questions such as how our brains react to stimuli, and where these two entities complement and contrast one another, via interdisciplinary methods.
Using a Neurofeedback machine, I am able to draw information from Alpha, Beta, Gamma, Delta, and Theta brainwaves to use as catalysts to propel movement, color, and form via the program Touch Designer. This information can be adapted to include applications such as new media and video, including live projections of neurofeedback in tandem with a practice in painting to offer alternative documentation processes of neurological artifacts found within these processes. These paintings can exist as artifacts of a moment, capturing emotion or physical response to stimuli. Utilizing clear acrylic with multiple thin layers of oil paint, this process allows me to create the visual illusion of movement, mirroring the shapes, and colors from the neurofeedback visualizer.
My work intends to discuss my embodied experience navigating neurological conditions that have affected my perception of reality and touched many aspects of my day-to-day life. A formative moment in my practice occurred in 2021 when I was diagnosed with a rare neurological condition during a routine eye exam. As I navigated vision loss and experienced the phenomena of eye “floaters” that distorted my perception, I realized that these challenges could be embraced rather than fought. I began incorporating these “eye floaters,” introducing vibrant colors and chaotic visuals into my work.
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Aries
2025
Video & EEG Feedback
Butterfly Fever
2025
Video & EEG Feedback
Alicia Parham (American b1998) is an interdisciplinary artist and educator. She holds a BFA in drawing and painting from the University of North Texas and is currently an MFA 26’ candidate at Southern Methodist University.
Connor Ewart
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Connor Ewart is an undergraduate student at Southern Methodist University studying Creative Computing and Computer Science with a minor in Graphic Design. He explores the evolving intersection between technology and visual art, drawing from his experience in both fields. With a background in back-end programming and graphic design, he brings a nuanced, multidisciplinary perspective to create sensory-rich and technically refined digital experiences. Leveraging his technical expertise alongside visual and audio programming tools, such as TouchDesigner and Audacity, he develops immersive and interactive visual and audio experiences that blend design with computational thinking. In an ever-progressing digital field, he remains committed to continuous learning and exposure to innovations and emergent media. He aims to continue exploring new media and collaborating with other artists and programmers to craft powerful, engaging digital experiences.
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Sound Pollution: An Audio Experience
2025digital audio soundscape, edited in Audacity
3 minutes 8 seconds
This aural piece is an acoustic ecology soundscape composition exploring the tension between natural and man-made environments. Utilizing field recordings captured throughout Dallas, the piece weaves together sounds from organic and inorganic landscapes, from parks, lakes, and trails to streets and construction zones. Edited using Audacity, the work employs multi-channel audio manipulation and mixing to examine the contrast between organic and industrial sounds. Through this sonic amalgamation, the work underscores the growing issue of sound pollution, where the sounds of natural and man-made elements are directly competing with one another. The composition highlights the ways in which human activity increasingly disrupts and dominates the acoustic presence of nature.
❝ My work focuses on the tensions between natural and constructed systems, using digital media to prompt reflection on how our environment interacts with and is shaped by human activity. With a background in both programming and design, I approach my work through a multidisciplinary lens, blending technical precision with visual and experiential storytelling to craft immersive and engaging pieces. Much of my practice is rooted in exploring how technology intersects with the natural world, using immersive and interactive experiences to uncover how natural and artificial systems influence and coexist with each other.In Sound Pollution: An Audio Experience, I explore the growing imbalance between the natural world and the constructed soundscape of modern life. The piece combines field recordings captured across Dallas from both organic and inorganic landscapes to build a layered composition that reflects the encroaching dominance of man-made noise. It exemplifies the process by which the noise of the unnatural world drowns out the natural acoustics of the environment. Through such auditory tension, the piece invites listeners to consider the constant opposition between nature and man's continuous and exponential industrial advancements as many organic environments struggle to survive. ❞
Julia Caswell Freund
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Julia Caswell Freund (b. 1994) earned her BFA from the University of Texas at Austin in 2017. She is currently studying in the MFA New Media program at the University of North Texas and is expected to graduate in 2026. Taking hybrid forms—video sculpture, intermedia performance art, and sound installation—Freund’s work reflects the simultaneity of digital and physical experiences symptomatic of post-internet life. Through an idiosyncratic visual lexicon, she fuses sensory information with the fever-dream aesthetics of advertising. In keeping with post-war performance art traditions of corporality, Freund incorporates not only the body but also cognition into her work, recontextualizing early performance art within a contemporary attention economy.
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On The Clock, 2024
4K video, Bilateral sound, found umbrella,
NFS
An umbrella is suspended 10 feet in the air. At its center, a 3-inch-diameter digital video plays. Inside, a woman’s face turns clockwise, her expressions—ranging from confusion to apprehension—illuminated by shifting party lights. Foley of a ticking clock, the distant sound of an arriving train in Japan, and birdsong emanate from the center. On The Clock examines the complexities of our relationship with time, a concept that deeply influences our daily lives yet remains intangible.
Xia Garcia
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Xia Garcia is a multimedia artist whose work explores themes of the surreal and grotesque found within the subconscious. Intrigued by the frequent nightmares they have experienced since childhood along with the effects of being raised by the internet, Xia’s work exists to fulfill an insatiable itch to share these uncomfortable experiences with others through a combination of as many digital mediums they can get their hands on.
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meatlocker
2024
Roblox (LUA programming)
This piece serves as a reflection of an experience I had in my dorm during my Freshman year of college in which I would store ground beef in my mini-fridge. This led to me feeling a bit uneasy at times feeling as though I am disrespecting the origins of the beef and as though I was being mocked by the cow I was eating from each time I would peer into my mini-fridge.
❝ I am a Texas based multimedia artist best known for creating what I like to call digital adventures. These adventures are either time-based media art or interactive pieces, however I am best known for my video art. I use a combination of any and all digital mediums I can get my hands on such as video, 3D modeling, image manipulation, sound, and creative coding. Stylistically, my pieces are surreal and grotesque, reflecting a sense of dissociation.My work experiments with ideas of dreams, nostalgia, and the subconscious with hints of early internet influence. I combine these ideas as means to reflect my personal experiences with frequent nightmares and paranoia, of which I have been in contact with since my childhood. These experiences narrate the stories that unfold in my pieces and allow the viewer to take a step into my mind and share these moments. I have also found great interest in the subtle subconscious hints that lead our perception of the world around us. Because of this, I also enjoy playing with the contrast that exists between horror and silliness to create a sense of harmony within that dissonance.
For me, my creative process is obsessive. I have found myself growing more interest in these odd experiences over the years which has caused a sense of necessity to be understood. I hope to recreate the uncanny realm I visit each night along with the unexpected disappointment I feel as I wake up each morning. With each piece I create, I hope to give the viewer the same blend of disgust and engrossment that I chase. ❞
Narong Tintamusik
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Narong Tintamusik (ณรงค์ตนิตมสุ กิ) is an artist and curator based in Dallas, TX. His work is autobiographical, mining elements from his second-generation Thai-American upbringing, Queer identity, Buddhist spirituality, and previous career in the biological sciences. Working within the painting and its iterations, he uses his Thai heritage to imagine an ancestral future to survive against society's current biopolitics. His works ask us to reconsider and revise the infrastructure surrounding contemporary modes of living, such as the overconsumption of ultra-processed food, waste colonialism, and cultural assimilation.
Born in Dallas, TX, he lived in Bangkok, Thailand, for ten years. His parents firmly persuaded him not to major in art in college, so he obtained his undergraduate biology degree from the University of Texas at Dallas with a minor in visual arts in 2014. After working in the environmental science industry for seven years, he decided to follow his dreams of studying art thoroughly. He is currently pursuing a Master of Fine Arts degree in Painting and Drawing from the University of North Texas. He is grateful to have studied and worked in a different field like science since it encouraged him to find new variables to enter his work continually.
He has exhibited in group shows locally in Dallas, TX, and beyond, including Chicago, New York, Canada, and Germany. Solo exhibitions include 500X (Dallas, TX), Plush Gallery (Dallas, TX), Tarleton State University (Stephenville, TX), Angelina College (Lufkin, TX), and Daisha Board Gallery (Dallas, TX). He is the recipient of the DeGoyler Memorial Fund (Dallas Museum of Art 2015), Art Walk West Microgrant (West Dallas Chamber of Commerce 2021), and the Puffin Foundation Grant (Puffin Foundation 2022). He was a part of the artist-run gallery 500X from 2019-2022.
His curatorial focus often lies in identity, queerness, sexuality, diaspora, figuration, abstraction, fashion, love, and nature. His curatorial projects include To Remember to Speak our Mother Tongue (2022) at Goldmark Cultural Center, Human/Nature (2021) at Fort Worth Community Arts Center, Tree With Half a Root (2021) at Mountain View College, and Queer Me Now: The Queer Body and Gaze (2020) at 500X Gallery and The MAC. He also started Musik, a virtual curatorial platform that offers solo exhibitions to artists without gallery representation through invitational and open calls from August 2020 - November 2021.
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Genetic Glyph ๑ - Spliced ๒-๓, ๕-๗
2024
Acrylic, aniline wood dye, laser etching on wood panel
106 x 7 inches
$3800I am captivated by the concept of the painted object and the transformative power of paint to elevate the unremarkable into something of perceived value through camouflage. This fascination reflects my complex journey between cultures. Born in the United States, raised in Thailand, and now residing here again, I feel both a connection to and separation from my Thai heritage. I carry a lingering sense of shame from existing between these worlds, feeling neither fully authentic nor entirely inauthentic within my cultural identity. Paint, with its layered and often illusory nature, mirrors this experience, allowing me to connect with my origins through abstraction and to imbue constructed forms with a sense of richness.
My queerness and the fragility of my body add further dimensions to the cultural dissonance I navigate, prompting me to question my value. Disconnected from Thailand’s more community-centered traditions, I reflect deeply on existence, mortality, and ways to transcend beyond this lifetime. Choosing not to have children, I seek alternative pathways to preserve and express my cultural heritage, imagining how it might endure in uncertain futures.
My research envisions a dystopian world shaped by human-induced environmental collapse, where survival depends on a return to cultural traditions. Through paintings, sculptures, and wearable art, I critique structures such as overconsumption, waste colonialism, and cultural assimilation. This intersection of culture, environment, and consumption is influenced by my experience in environmental testing, where I analyzed aqueous and solid samples for contamination. Waste, as an overlooked residue of society’s intake, became central to my practice, merging with craft-adjacent techniques such as dyed wood, woodworking joinery, Thai mural painting, fused single-use plastic films, Joomchi papermaking, wastewater, and Thai food ingredients. These materials accumulate into culturally inclined yet detached forms, evoking physical and spiritual preservation as I reflect on my experience as a second-generation Thai American.
By situating myself within this desolate vision, I find meaning and purpose. As an artist, I am committed to ensuring that our cultural memory, resilience, and spirit endure beyond this time.
Baotran Vo + Diamond Nguyen
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Baotran Vo is a multi-media artist who employs a range of mediums, including animation, virtual reality, painting, digital fabrication, and interactive installation, to create immersive environments that explore the intersection of identity, culture, and memory. Vo is pursuing a Master of Fine Arts in Design and Creative Practice and is a Teaching Associate at the University of Texas-Dallas. Vo was an art teacher at Zhang Yaowu Art Center- Houston from 2022- 2023. She received her Bachelor of Arts in Kinetic Imaging and a minor in Painting and Printmaking at Virginia Commonwealth University in May 2022. Her work, reflecting her journey as an international artist and her Vietnamese heritage, seeks to create a space for reflection where audiences can connect with their own experiences and emotions. By delving into themes of displacement, belonging, and cultural identity, Vo's art encourages viewers to reflect on their own experiences and find meaning in their journeys. Ultimately, her goal is to create a space for connection and understanding where audiences can find solace and a sense of belonging in their own identities and experiences.
Diamond Nguyen is a multimedia artist, researcher, and educator pursuing her PhD in Arts, Technology, and Emerging Communication at the University of Texas at Dallas. She specializes in 3D graphics, character animation, and interactive installations, with a particular focus on creating immersive and engaging audience experiences through innovative animated environments and human-computer interaction.
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Talk to the Moon
A deep fascination with the intersection of art and technology drives our artistic practice. Talk to the Moon is an interactive art installation exploring this intersection, along with human experience and the natural world. Participants 'paint' on a projected moon surface using their fingers, creating a dynamic, ever-changing artwork through kinetic sensors and TouchDesigner software. The cool-toned color scheme enhances a meditative experience, inviting introspection, catharsis, and connection. This collaborative work by Baotran Vo and Diamond Nguyen aims to provide a moment of respite, encouraging self-discovery and creative exploration through meaningful engagement with technology. Talk to the Moon seeks to offer viewers a transformative and emotionally resonant experience, demonstrating the power of technology to facilitate introspection and connection.
Daniel Manning Pope
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Daniel Manning Pope Jr. is an interdisciplinary artist, professor, and researcher whose work focuses on the intersection of politics and aesthetics. This focus – on parapolitical aesthetics – is intended to emphasize both the prior and contemporary relationships which are known or not-known, recognized or not-recognized, between the power structures of political capital and aesthetic practices. While the theoretical inspiration for his project rests generally in the shadow of Deleuze and Guattari’s project of schizoanalysis and Baudrillard’s fatal strategies, Pope positions his work as a continuation of the anti-fascist praxis of Walter Benjamin, David McGowan, and Mark Lombardi. Working in various and ever-shifting mediums ranging from photography to installation work, and from digital art to large scale painting, the bedrock of
Pope’s work is centered on the sociopolitical responsibility of both aesthetics and education more broadly, and how the further development of parapolitics can lead to a form of socially liberatory praxis.
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The Abstraction did not take place...
2024-ongoingRisographic prints
16’ x12’
$400 (unframed)The questions I present with this group of work is as follows: Did a mass suicide at the behest of a hypnotic cult leader take place in Guyana in November of 1978 with a total death count of 918? On December 14th, 2012, did a mass shooter kill 28 people, 20 of which were between ages 6 and 7 in Newtown Connecticut? In 1989, did the United States Armed Forces invade the country of Panama in a brief yet brutal display of force, one of only multiple dozens of both ‘official’ and unofficial interventions in the continent during the 20th century?
Yes, in fact all of these things did take place. What I hope to bring to the forefront is our collective rapid detachment to said real events which are placed in direct conflict with the operating abstracting-machine that Baudrillard so accurately recognized over three decades ago.
These images are a collection of famous documentary photographs which through a pointillizing process have become increasingly abstracted into circles of cyan, magenta, and yellow. For each image the only reference to each historical tragedy is the title which gives the date and location of said violent event, intended to parallel Baudrillard’s abstraction of violence as presented in his understanding of the Gulf War which did not take place. If you search the location and date of each of these pieces, or perhaps recognize some of the more infamous dates (9/11, 4/19, etc.), it will take little time to find the referenced tragedy, and quickly the abstraction becomes much more clear. Yet the question remains, how quickly do we forget (or abstract) tragedy and violence? How terrifying is a reality in which these killings, operations, and tragedies are so quickly forgotten? Baudrillard was correct in his diagnosis of contemporary violence... it (the violence) does not in fact exist, nor does it take place, and the abstract-functioning of hegemonic capital has guaranteed this. The role of any artistic practice is not only to recognize this and emphasize the sociopolitical responsibility of aesthetic projects, but furthermore to recognize that said aesthetic projects of creative output are becoming increasingly the only methods which differentiates our production from non-human production. As capital increases to become speculated, crawling ever deeper into virtual cyberspace, labor becomes increasingly automated, removing humans from the processes of production, what remains is the human ability to participate in artistic creative processes with the goal of inspiring sociopolitical change. Situated within a reality which is oversaturated with violence and tragedy – both of the overt and parapolitical nature – any artistic project must undertake a ‘becoming-monstrously foreign’ process, one which challenges the apolitical, autistic, and defanged, status quo which has come to define contemporary ‘high art’ since the end of the Cold War. Baudrillard was correct in his analysis of an abstracting-function of violence, it is the role of artistic projects to challenge this reality, shedding a light on realized, yet quickly forgotten, tragedy and atrocity .
Linh Vu
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Linh Vu is a multidisciplinary creative student from Ho Chi Minh City, Vietnam, and Dallas, Texas. Linh explores culture, memory, and storytelling through design, writing, and visual experiments.
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Youth (Egg series)
2024
video
The beauty of youth lies in its boundless ability to shift and transform, free from consequence. It is in this purity and curiosity that boundaries are pushed, and the unknown is embraced. The glowing light captures these sparks of innocence and potential, illuminating the fluidity of transformation and the raw energy of becoming.
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NEW MUS:2 Sound & Visuals
Tickets Here: https://app.defytickets.com/d88fby/decqge
FEAR OF THE OBJECT
Fear of the Object is a site-specific intervention utilizing live video and sound performance to put into dialogue the architectural resonances and dissonances found within physical space, sound and light. The work is based on the inherent frequencies and resonances of Cogburn's percussive objects, Masterof Sruti´s transducer driven membranes, and Manzano's spatialized live electronics. Audio generated video projected from Bjørgeengen is fed back into sound and blurs distinctions between hearing and seeing.
Kjell Bjørgeengen Dave Jones VideoSynth and Flood Coil
Chris Cogburn percussion + electronics
Michele Sruti vibrating membrane
Juan Manzano electronics
Kjell Bjørgeengen (Norway) explores art as an investigation of reality, merging artistic and political transformation. His video work began at The Experimental Television Center in Owego, New York, where he collaborated with Dave Jones on large-scale video installations and the development of the Jones VideoSynth, which he employs in his prints, live performances, and installations. Since 2000, he has worked exclusively with audio-generated video, using the Jones VideoSynth and Jones Flood Coil. Bjørgeengen has exhibited widely in Norway, including Kunstnernes Hus, The National Museum of Art, and several major art museums, as well as internationally at the Hara Museum of Contemporary Art (Tokyo), The Ludwig Forum (Germany), Dundee Contemporary Arts (Scotland), and Pori Art Museum (Finland). He has collaborated with renowned musicians such as Jon Balke, Joëlle Léandre, Okkyung Lee, Otomo Yoshihide, Evan Parker Electro Acoustic Ensemble, Marc Ribot, Keith Rowe, and many others.
Chris Cogburn (US/Mexico) is a percussionist focused on improvised music, exploring the threshold between acoustic and electronic sounds and their sites of resonance. He has performed at major venues and festivals worldwide, including Festival Aural/elnicho (Mexico City), Issue Project Room, James Turrell's Roden Crater (Arizona), and Quiet Que (Berlin). His projects include Resonance with Iván Naranjo, the electro-acoustic trio Anáhuac with Ignaz Schick and Juan García, A Spirale with Mario Gabola and Maurizio Argenziano, and an audiovisual improvisational set with Peter Holm and guest artists like Masterof Sruti, Aimée Theriot, and Judith Hamann. His recordings appear on labels such as Astral Spirits, Another Timbre, and Balance Point Acoustics. Since 2003, he has organized the annual No Idea Festival, based in Austin, Texas, with events across the U.S. and Mexico.
Michele Sruti (Italy/Norway) is known for his research in sound production and alternative percussion techniques, developing a unique style using the Gran Cassa with transducers and objects for sound exploration. Active in contemporary music, he tours and records with Dans les arbres, Huntsville, and O3, alongside solo and collaborative projects, he also composes for ensembles such as Ensemble MusikFabrik, Quatuor Bozzini, Speak Percussion, Pinquins, and Ludus Gravis. His solo work spans film, dance, and art performances, and he holds a Ph.D. in artistic research from the Academy of Music in Oslo.
Juan Manzano (Mexico) studied at the Conservatorio de las Rosas, holds a Master’s in Experimental Music from Wesleyan University, and a PhD in Composition from Stanford. His work spans chamber music, installation, algorithmic composition, live electronics, and improvisation, with compositions performed by the LA Philharmonic, Arditti Quartet, Jack Quartet, and numerous other ensembles across America and Europe. He has studied with Germán Romero, Ron Kuivila, Erik Ulman, and Brian Ferneyhough. A member of Mice Corpus, Fear of the Object, and the duo Helicoidal, he was part of Mexico’s National System of Art Creators (SNCA) and served as Coordinator of Technologies Applied to Musical Creation at CEPROMUSIC. He currently teaches analysis, composition, and algorithmic composition with SuperCollider at the Academia de Arte de Florencia in Mexico City.
RICK REED
Rick Reed is a self-taught electronic musician who has been creating his own sound since 1981. He has released seven solo recordings, including The Symmetry of Telemetry (2023), and collaborated in groups such as The Voltage Spooks, Shifting Currents, Frequency Curtain, and Abrasion Ensemble. Performing across the U.S. and internationally in England, the Netherlands, Scotland, Mexico, India, and Switzerland, Reed has also composed soundtracks for filmmaker Ken Jacobs, including Capitalism Child Labor (2006), which is in MoMA’s permanent collection. In addition to music, he is also a painter and creates short video sketches of his work.
MONTE ESPINA + LOUISE FRISTENSKY + KRISTINA SMITH
Monte Espina is an electroacoustic free improvisation duo formed by Venezuelan-born, North Texas-based musicians Ernesto Montiel and Miguel Espinel, who met in 2016. Through amplified sounds and signal processing, they create sinuous sonic environments with a fully improvised approach. Collaboration is central to their practice, having worked with artists such as Liz Tonne, Louise Fristensky, Alan F. Jones, Jason Kahn, Rebecca Novak, Justin Lemons, Dan Clucas, among many others. Their discography includes y culebra (2019), pa (2021), pueblo glortha (2021), cuatro estaciones (2022), and alquimia criolla (2024), released on labels like Marginal Frequency, Elevator Bath, and Full Spectrum Recordings.
Louise Fristensky is a composer, sound sculptor, and systems artist whose work explores the micro-refractions of reality and the unreality of shared experiences. Their projects include to swim in air, an evolving modular system of intermedial works, and False Landscapes, an experimental video and audio piece on internal spaces. They have collaborated on installations like Singing Bones of Piano Fall with Christopher Poovey and compositions such as Grrrowl for percussion trio. A frequent performer with Monte Espina, they have also worked with Aaron Gonzalez and Vic Rawlings. Their work has been featured at festivals like As If Radio (Glasgow), Audio Art Festival (Krakow), Soundlings Festival (London), and nief-norf Summer Festival, where they were the inaugural Composition TA in 2017.
Kristina Smith is a multimedia artist, writer, and maker of things. They hold an MFA with distinction, and are part of the ritual noise duo, “Ruptured Implant.” They are interested in memory, radical vulnerability, and channeling and pouring out the aches of the heart and world. They are mostly just trying to not die.
Help our artist run gallery, and our touring artists through our tiered ticketing event!
General Admission - $20 - Entrance only
Elevated Admission - $30 - Includes 1 free drink
VIP Admission - $40 - Help someone else see the show, by paying it forward! Includes 2 free drinks
Or pay what you can at the door! :-)
Donation based drinks will be available.
V 25:3
V 25:3
Featured Artists: Tra Bouscaren, John Pomara, Liz Trosper
In collaboration with Dallas Contemporary and UTD Lecture Series ‘The New Painter’
Reception: Friday, March 7, 2025 at 7pm till midnight
Exhibition: March 7 - 28, 2025
Open Doors on Tuesdays from 10:00 am - 3:00 pm
Appointment based viewings of the gallery available. Make appointments via email at newmediacontemporary@gmail.com
NEW MUS
New Media Contemporary Presents: -NEWMUS- a concert of New Music
Marco Buongiorno Nardelli, electronics + Colin Stokes, cello
Performing: TRACES OF THE IMAGINARY.
& David Dove with a surround performance on Trombone/Electronics.
Saturday February 8 2025. Doors @ 7P.
Tickets Start at 20$, or pay what you can!
Marco Buongiorno Nardelli
Marco Buongiorno Nardelli is a composer, computational physicist and media artist at the University of North Texas, a member of iARTA, the Initiative for Advanced Research in Technology and the Arts and of CEMI, the Center for Experimental Music and Intermedia, and a Parma Recordings artist.
Colin Stokes
Cellist Colin Stokes is one of the most highly regarded young musicians of his generation and has shared the stage with many esteemed artists beginning with his debut at age 15 with Yo-Yo Ma, Yuri Temirkanov and the Baltimore Symphony Orchestra.
Colin holds degrees from The Juilliard School in New York and Eastman School of Music, and he is currently pursuing a Ph.D. in Computer Music Media.
He is the recipient of a National Endowment for the Arts grant and a USArtists International Grant as a member of Zohn Collective, as well as M. & E. Cohen, Stonzek Memorial and Howard Hansen scholarships as well as a dozen other prizes and awards recognizing his work.
Colin’s discography spans 14 albums with a broad range of collaborators, spanning the genres of classical music, jazz, world music and pop. The current season will see the release of a new album of contemporary chamber music from Zohn Collective, as well as the release of his first solo album featuring his own music.
David Dove
Trombone player, composer, improviser, and educator from Houston, Texas.
Dove plays improvisational/experimental jazz music and previously was a member of funk/ska/rock band Sprawl (4). In 2001, Dove founded non-profit organization Nameless Sound to present contemporary music concerts.
V 25:2
New Media Contemporary + HOMMAGE Present: V 25:2 - Deconstructing the Magazine
Feb 7 - 28, 2025
Featuring:
Brennon Holbrook | _d_x_g (Don Gordon) | Dylan Rocamontes | Harrison Boyland | Ida Judith Dombrowski | Lo Kuehmeier | Michelle Taylor | Victoria J. Brill | AJ Bolin | Cody McPhail | Cody Wright | Demetri Sheffield | Holden Foster | Jonathan Kilcullen | Lucas Steinbusch | Stu Conry | Tyler Woodruff | Wolfpat Ascherl | Derek Bishop | Nathanael Zabala | Abby C Mueller | Cailee Grabowski | Campbell Morin | Cornelia Pierce | Daisy Avalos | Janina Lewicka | Qiu Yangzi | Rachel Lewis | Xiaofu Wang | Yukiko Yamazaki | Jesse Jackson IV | Tre Logan | Denys Crespo
V 25:1
Diana Rojas
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Diana Rojas is an interdisciplinary artist whose research explores human attempts and desires to engage with the invisible through installation, video, sound, and sculpture. Informed by her interests in philosophy, history, physics, and material science, she approaches the role of technology in art making as the catalyst for larger conversations of existence, consciousness, and metaphysics. Her work, which exists physically and virtually, has been exhibited, screened, and published nationally and internationally in spaces such as: Czong Institute of Contemporary Art, Fiesp Cultural Center, Dallas Contemporary, Chapel of Santa Maria dei Carcarati, Canyon Flats Video Wall, Rockport Center for the Arts, Texas Theater, the Yale Theater, and more. She is the recipient of several OER Grants from the Oklahoma State Regents for Higher Education, the 2023 Arch and Anne Giles Kimbrough Fund Award, 2022 Judson-Morrisey Excellence in New Media Award and the Arrowmont Windgate University Fellowship. Diana was born in Mexico, received her MFA from the University of North Texas, and is an Assistant Professor of Sound Art at the University of Texas at Dallas.
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MAIN SCREEN:
Title:Query v2
Statement: Query v2 is a single channel audiovisual work adapted from its planetarium counterpart. This piece utilizes abstracted imagery of the cosmos, specifically rings of light which form as a result of gravitational lensing an occurrence observed when a massive body existing in spacetime, such as galaxy clusters or black holes, cause a curvature in spacetime resulting in the light around the mass to bend. Drawing its title from Isaac Newton’s Opticks, in which Newton wrote about gravity, light and God, Query serves as a reminder of the distance between humanity, the invisible, and the immense.
UPPER SCREEN
Title: Messenger (1)
Statement: Messenger (1) is part of a triptych video work featuring asteroid and spacecraft 3D scans/models and text. This work features “messenger” figures, composed of visual elements found in angelic beings, biological, and technological forms. By combining the mythological and scientific, Messenger (1) creates a virtual space where these ideological lines are blurred.
Ricardo Paniagua
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Dallas-based artist Ricardo Paniagua's sculptures, paintings, murals, and mixed media works range from painstakingly precise and geometric to loose and psychedelic, displaying his incredible diversity. The scrupulous details of his tondos, wall sculptures, and canvases, referencing his background as the descendent of generations of master tile artisans, speak to the artist's meticulous consideration. One strength of Ricardo’s paintings is that they offer visual forms that don’t appear to be directed by a catalogue of art historical references. Ricardo speaks of painting as something that comes from the ground, through you and out you, somewhat like a dream. His works appear to emerge from an internal place where form and rhythm coalesce. Paniagua has participated in exhibitions across the United States, including a 2015 show at the Mexic-Arte Museum in Austin.
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TITLE: PLAZZMOID (2024)
Shawn Saumell
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Shawn Saumell is an ALAANA artist born in New York and currently lives and works in Dallas. He received an MFA from Lesley University College of Arts and Design fka The Art Institute of Boston at Lesley University, BFA from Texas Woman’s University, magna cum laude, and an AA from Collin College, cum laude.
Saumell's work has been featured in over 230 exhibitions worldwide and has won many international awards including, but not limited to:"First Place," "Director's Choice," "Photographer of the Year," "Best of Biennial," "100 Best International," "Top 50 MFA Painters in America," "Top 25 International Fine Artists," and "Best of Show."
He has had a recent solo exhibition at the Mesquite Arts Center, Mesquite, TX [2024]; and recent juried exhibitions at the Bill J. Priest Center, Dallas, TX [2023] and Texas Woman's University, Denton, TX [2023]; as well as recent group exhibitions at Arts Fort Worth, Fort Worth, TX [2024] and Adolphus Tower, Dallas, TX [2024]. -
Titles: GLITCH; "I", “II”, “III”, “IV”, “V”, “VI”, “VII”, “VIII”, “IX”, “X”
Medium: archival pigment print
Size: 8.5"x11"
Date: 2024
Edition: 5 + 1 AP -
This work continues common themes of pareidolia, perception of reality, and the human experience from previous projects. Ever since the Information Age, the Internet, and recent rapid development of A.I., humans have been busy hacking and deconstructing our reality faster than ever, while simultaneously being manipulated by it.
Scientists find that the building blocks of our physical reality are molecules or quarks. In technology, we see the blocks coded in binary code bits of ones and zeros. Every now and again some unexplainable phenomena occur, a glitch in the matrix, if you will.
These pieces peel back some of the virtual façade of our relationship with technology. This is how we interface, absorb information, and develop much of our understandings of life and this world. These pieces are still frames from a video piece.
During the viral peer-to-peer BitTorrent craze of sharing of files, I downloaded a movie, which happened to be coded. It would appear differently depending on the video viewer that I chose to open the file with. With one of the software applications, it produced a beautiful matrix of EBU (European Broadcasting Union) color blocks. These scrambled blocks were composed of the primary colors of paint (red, yellow, blue), the primary colors of light (red, green, blue), and the primary colors of pigment inks (cyan, magenta, yellow, black). Although I wasn’t able to watch the movie, I was mesmerized by the array of colors, shapes, and patterns that would emerge.
At first, it seemed curious, then meditative, and then cognitive. I began thinking about what I was seeing and experiencing. As I peer into the pixel anatomy of this film. I thought about how people see differently and have different experiences of the same event. We have different minds, as well as different eyes. Our minds develop through nature and nurture metaphysically, but our eyes can have a very physical impact on how we empirically see. As I sat watching different images emerge from the patterns, I wondered what other people would see in the same moment and image. Furthermore, I continued thinking about how many humans have different perceptions of color. It is widely scientifically agreed that about 1 in 200 women are color blind, as compared to 1 in 12 men. Climbing further down this rabbit hole, beyond just the patterns, I began to wonder how these pieces may look differently to various people depending on their retinal deficiency. I then began to connect the idea of certain colors/hues being completely colorless or seemingly invisible to some.
This then triggered a connection to how we see the physical world around us. Our eyes are only capable of viewing or perceiving about 0.00355% of the entire visible electromagnetic spectrum. This means that more than 99% of the world around us is invisible. What do you see that I don’t? If we saw things the same way, would we have less conflict? How can I see the world like you? How can we see all the seemingly invisibleness around us? How does that invisible realm interact with us, unbeknownst to us?
Sound Sculptors Union
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The Sound Sculptors Union was established in the Spring of 2020 as an online salon and vehicle for collaboration for experimental sound artists and musicians. Originally formed in response to the pandemic, when artists were especially isolated, both from their artistic practices – largely reliant on access to physical spaces and in-person audiences – and from each other.
The collective remains a means of connection between artists working in various media across the US who seek community through their artistic practices. The group’s structure has shape shifted over time, through multiple iterations since its inception. The goal is to provide feedback to members of the group on their individual works and as well as a platform for collaboration between artists in the group.
The 2 videos included were created in 2023 by Paige Naylor, urks io, J$Fur, Em Ritchie, Henna Chou, and Alison Wilder in a 'Telephone' style file exchange process. https://soundsculptorsunion.org/
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Untitled 1 (2020)
Untitled 2 (2020)
—-—- ASH ——--
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Ash Hunn is an autodidact New Media & VJ artist whose work explores the intersection of technology, interactivity, and glitch aesthetics. Based in Dallas, Texas, Ash creates immersive and dynamic visual experiences that blur the boundaries between digital creation and analog manipulation. Using the powerful visual programming environment TouchDesigner, they craft intricate generative visuals that pulse with life, offering a dynamic flow of form, color, and, on occasion, sound.
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Title: Fuck Around & Find Out (2024)
Description / How-To:
This sculpture is aimed to give the viewer a feeling of nostalgia, while simutanioulsy bridging them over to the digital realm through the visuals being displayed on the CRT televisions. I invite you to toggle the switches and twist the knobs via the glitch box machine to become a part of the ever-changing result.
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Statement:
My work revolves around the interplay of digital technology and analog systems, exploring how these two realms can collide, coexist, and ultimately blur the boundaries of visual art. Using TouchDesigner to create intricate, generative visuals that explore the potential of real-time, algorithmic design, only to then feed the visuals through CRT televisions, a medium steeped in nostalgia, yet simultaneously an imperfect vessel for today's sharp digital precision. The inherent distortions of the CRT screen - the soft glow, the flickers, the glitches - introduce a layer of unpredictability and raw texture, offering an organic counterpart to the meticulous digital patterns I create.
I employ a glitch box machine, a custom-built analog interface that allows me to manipulate the visuals in real-time. The machine distorts, fragments, and reconfigures the imagery in chaotic, unpredictable ways, creating a tension between control and chance. This physical, tactile manipulation of the visuals invites the viewer to engage directly with the work. As they interact with the glitch box, they too become part of the creative process, actively altering the flow of the artwork. In my work, I seek to embrace the tension between precision and chaos, control and spontaneity, technology and human interaction.
The work is then fed through CRT televisions, and further transformed via a custom-built glitch box machine-an analog interface that allows for real-time, hands-on manipulation providing a deliberate distortion that introduces unpredictability and raw texture into the digital imagery. They have VJ'd these visuals at various live music events, venues, and clubs, and have featured their work in gallery spaces throughout DFW.
New Media Contemporary Presents: YEAR ONE.
It’s our birthday/anniversary! Come celebrate this amazing past year with us! December 13. 7PM. Expo Park. Dallas. Black and white attire. We will have special one night only performances and installations from some of our closest friends!
As always, donation based refreshments provided.
JOHNNY BELL | TONGUE DEPRESSOR | AMERICAN CRUELTY
New Media Contemporary Presents:
JOHNNY BELL | TONGUE DEPRESSOR | AMERICAN CRUELTY
Tickets: https://app.defytickets.com/kdmfro/xuhlre
JOHNNY BELL:
Johnny Bell is a Northern New Mexico-based instrumental musician exploring the banjo as a progressive instrument desiring to evolve beyond its traditional roots. From within the lineage of American Primitive music Johnny’s current work juxtaposes traditional clawhammer banjo techniques
with acoustic drone, ambient field recordings, radio broadcast, tape loops and other found sounds to create recursive sonic textures that are trance-inducing and cathartic.
TONGUE DEPRESSOR:
Tongue Depressor (New Haven, CT) is the duo of Henry Birdsey (fiddle, lap steel) and Zach Rowden (fiddle, upright bass). They write, improvise, and perform music that draws from the fields of drone, harsh noise, and church music, often using microtonal tunings.
AMERICAN CRUELTY:
American Cruelty is an experimental ambient project by Texas-based DJ/producer Vanden. Started in 2021, he has quickly gained a reputation for his deafening blend of ambient textures and harsh noise performed through DJ gear many would considering more suitable for nightclubs. His latest album “Devotion” was released on Memory Terminal Records in 2023.
MODULAR ON THE SPOT
NEW MEDIA CONTEMPORARY AND MOTS.DFW PRESENT: MODULAR ON THE SPOT
AN OPEN MIC MEETUP FOR SYNTHESIZER ENTHUSIASTS
OBSCURESS | BITCHES SET TRAPS | SUZANNE TERRY + STEPHEN LUCAS + RACHEL WEAVER
New Media Contemporary Presents: Live Sound and Visuals Series
OBSCURESS | BITCHES SET TRAPS | SUZANNE TERRY + STEPHEN LUCAS + RACHEL WEAVER
Get tickets here:
https://app.defytickets.com/kdmfro/ub1xs2
OBSCURESS
Obscuress, the duo of Christina Carter and Spencer Dobbs, is a daedal blend of veiled minimalism, auditory portière, and vested text. Having long supported each other’s individual work, Obscuress brings Carter and Dobbs together for the first time, working through their distinct voices, electric guitars, lap steel, mouth organ, keys, and sampled noise to compound original songs for this dedicated project.
Christina Carter, a founding member of Charalambides, is known for her improvisational vocals and guitar work, which have been central to her solo career and numerous collaborations. Her music often explores themes of solitude, spirituality, and emotional sonority, incorporating elements of poetry and visual art. Carter’s discography includes both solo projects and collaborative works that push the boundaries of conventional song structures. Her latest release is For Want of Walls (Unifactor 2024), a book of watercolor paintings and writing.
Spencer Dobbs' eremitic work in song has been described as "beautiful, deep, desperate, drunken late-in-the-night folk music." His releases are collected under the Texas Archives imprint.
Obscuress is recording their first album and will tour the US East Coast, Midwest and South in August of 2024.
BITCHES SET TRAPS
The virtuoso musicians of Bitches Set Traps push the boundaries of improvisation by exploring current events, feminism, misogyny, and performance taboos, in theatrical and comedic performances. Using instruments, voices, and common household items, BST recycles and questions everyday tropes of American culture, from tampon commercials to heavy metal power ballads, Eminem to Supreme Court briefs, Joan Didion to Frank Sinatra.
The Bitches crossover venues and genres bringing together ideas between subcultures; they set traps in concert halls, nightclubs, theaters, and galleries with equal intensity. As an improvising group they sometimes collaborate with additional guest musicians. BST formed in 2018 as the North Texas Feminist Improvising Group, inspired by the original Feminist Improvising Group of the late 1970’s.
SUZANNE TERRY + STEPHEN LUCAS + RACHEL WEAVER
Suzanne Terry:
Writer, pianist, singer, dancer, noisemaker, but not always in that order.
Stephen Lucas:
Stephen Lucas is a musician, intermedia artist, and programmer based in Denton, TX. As a keyboardist, he specializes in contemporary music with both piano and electronics performance. His primary solo project, Stephen Lucas: Live at Brussels explores technical synth playing and Dogmus arrangement — he also performs in the prog/zeuhl band Vaults of Zin and the Sounds Modern concert series, among other projects in North Texas. His multimedia compositions are known for combining starkly cartoonish and abstract elements with computer generated audio and video via custom-created software. His other major interests include cybernetics, metaphysics, and baking.
Rachel Weaver:
Rachel Weaver (blendways, Python Potions) uses electronics, field recordings, samples, sound art, radio, collage, and other found media to create. Weaver has participated in Mixed Media Performance Art showcases around Denton-Dallas-Ft. Worth galleries and venues since 2016, including the dallas contemporary museum, Dallas Museum of Art, Oak Cliff Film Festival, Interference Fest, Sonic Murals, KUZU Community Radio, Denton Zine & Art Party, Thin Line Festival, Speedbump lil d, University of North Texas, Texas Woman’s University and in virtual/online spaces.
