Double Helix Collective proposes the creation of expressions that capitalizes on sound, music, wordless vocals, percussion, shadow-play and kinetic traces to comment on the notion of mindfulness and ritualistic traditions. We believe that to create and improvise sound and images in real-time is a ritual, a moment of absolute presence, an internal-external conversation, an act of being nobody, of loosing all sense of the self to be oneself.

DHC is in constant transaction with the seductive manifestation of autonomous computational systems; we propose to investigate ways to reclaim the body as the central generator, responsive and conduit of expressions in the techno-centric world we live in.

Artists have always used the pen as a tool to capture and describe the world, external or internal. Computer graphics software reinvented the pen to produce both vectorial or rasterized images. DHC repurposes the “pen” as a tool for the artist to respond to or enact in the environment in real-time while reclaiming hand-eye-mind-motor coordination. The two-dimensional surface of the computer screen is replaced by the inherently XYZ cartesian system we live in.

DHC embraces the most ubiquitous form of digital projection (frontal) while embracing the manifestation of the shadow — the human silhouette — in its pure, bare, non-gimmicky, unassuming way… yet, expressive. A taxonomy of shadow projection is an ongoing part of the work.

Photo by Lynn Lee (2013)


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