01-30-2025—VOIDWAVE feature on Dublab. “This show includes a conversation between Saun and Kim Zumpfe walking in the mountains above Altadena, recording ourselves treading through the brush and pine needles of the Angeles National Forest a couple weeks before the devastating fires. […] While the conversation touches upon forms and processes of sound’s relationship to image, body, language, landscape, and architecture, it also transcends into more intangible aspects of sound, including its amorphous relationship to embodiment, politics, and the realities and vacancies in perceptions of our own histories that live in the spheres of the sonic.”

Dublab, Thursday Jan. 30, 10am PT - 12pm CT - 1pm ET two-hour episode with conversation, scores, & “living” compositions. [Artwork by Melissa Vogley Woods]

11-12-2024—Keeping Beckett Live: Waiting for Godot at the Geffen Playhouse. I am deeply honored and thrilled to have been invited to speak on this panel for the Geffen Playhouse’s Donor Benefit Event alongside Judy Hegarty Lovett, co-founder of Gare St. Lazare Ireland and director of ‘Godot’ at the Geffen (one of the world’s pre-eminent directors of Beckett), Conor Lovett, ‘Godot’ cast member and Gare St. Lazare Ireland associate director, Monica Horan Rosenthal, known for her performance as Winnie in Beckett’s ‘Happy Days’ produced by the Independent Shakespeare Company among much more, and hosted by Tarell Alvin Mccraney, artistic director of the Geffen, playwright, and Oscar-winning co-writer of ‘Moonlight’.

It was such a pleasure to chat about, amongst other things, the pivotal role of Beckett’s works within my own practice, relational modularity as resistance, atonality, and the composition process of my performance piece Mother […] Mother working with and through Beckett’s Footfalls and performed at Reisig and Taylor Contemporary on June 22, 2024. Thank you so much to Patrick Bixby, president of the Samuel Beckett Society for recommending me.

Sculpture / Interdisciplinary Embodiments Class

The medium of sculpture is inherently grounded in the position of questioning, or rather the questioning of position. It is a uniquely accessible form within which to question our own positioning in relation to ourselves and our world today, whose process brings to the fore one of the core materials of any form of art: the invisible yet tangible conceptual framework that underpins it—or in a sense, acts as its armature. The physical sculpture, whether visual or aural, is an embodied trace around that armature. This class offers a collective space to investigate these positions, between subject and system, between armature and architecture/infrastructure, through the exploration of interdisciplinary embodiments, allowing the similarities and differences between disciplines and materials to open up new and sometimes contrasting perspectives, helping us to refine the way in which we conceive of our own conceptual frame, our invisible armature. The process of sculpture embodied in this class is one of dialogue, between yourself and the material, between the tensions of form and texture, between the sculpture itself and the spectator, and between spectators and the complex whole it forms, what Beuys would call a social sculpture. The collective aim of the class is, to quote Adorno on the composer Berg, “…to heighten the illusion to the point of transparency”.

06-07-2024—Beckett and Justice, the ninth annual conference of the Samuel Beckett Society at Cal State LA (June 6-8, 2024). I’m incredibly honored to have been invited to speak on the panel Beckett, Justice and Thai Artist Saun Santipreecha at this year’s annual conference of the Samuel Beckett Society in conversation with Beckett scholars Katherine Weiss and Feargal Whelan. The panel will take place at Cal State LA on Friday, June 7, 2024 from 3:15 - 4:15pm. Conference attendees are invited to a guided tour of my current solo exhibition …These Things That Divide The World In Two… at Reisig and Taylor Contemporary on June 9.