Tracey Cockrell is an interdisciplinary artist who synthesizes sculpture, experimental music, and linguistic theory. Since 1998 she has been working on multiple collaborative projects, engaging with other artists, writers, and musicians to compose with invented musical instruments. Her sound art has been featured in radio broadcasts on KBOO and KPFA through alternative programs such as ‘A Different Nature’ and ‘Discreet Music’ and heard in live performances at the 14th and 15th Annual Music for People and Thingamajigs Festivals in San Francisco, and the 2012 CoCA Annual in Seattle. In 2010, she mounted a collaborative exhibit, POEMOPHONE: a cacophonous collaboration and reading series at WorkSound in Portland, bringing national and international collaborators to compose and perform on her sculptural instruments. Most notably her sculptures and installations have exhibited at Boston Center for the Arts, Institute for Contemporary Art in Portland, Maine, Oakland Arts Council, the San Francisco Arts Commission, and WorkSound in Portland, Oregon. Reviews of her work can be found in Sculpture Magazine, ArtNewEngland, the Boston Sunday Globe, WGBH tv’s ‘Greater Boston Arts,’ and Maine Public Radio’s ‘Maine Things Considered.’ Artist residencies include Skowhegan School of Painting and Sculpture, Oregon College of Art and Craft, Hewnoaks Artist Colony, Leland Iron Works, Tides Institute & Museum of Art, as well as a Music USA Meet the Composer Grant for her experiments in sound and a Grant for travel research for study in India specific to the making of the sarangi.
My current research is about the complex relationships between language and landscape, psychoacoustics and the subjectivity of place. In a way, we can describe thoughts as rhythmic pulsations, and the way that we think is to leap from one rhythmic pulsation to another to create images, ideas. To approach a concept as one would a form, from differing points of view, is a kind of sculptural thinking, a dance, if you will, that navigates from one distinct vantage point to another. Circumscribing the whole of a focal point embodies the richness of this way of thinking. Time, memory, and corporeality are inherent in the complex of sensations that belong to the sculptural experience. When we navigate through our physical environment, in what ways does our relationship to landscape influence our thinking, our language, and how we shape and express our worldview?