Date/Time
Date(s) - October 05, 2018
8:00 pm - 10:30 pm

Location
The Fuse Factory Electronic and Digital Arts Lab


Our October 2018 Frequency Fridays show features Adi Newton performing solo, with special guests Circuitry Room (CMH). Accompanying Circuitry Room on visuals are Columbus-based video artists Matt and Nicolette Swift. Date: Friday, October 5 2018. Location: It Looks Like It’s Open (13 E. Tulane Rd., 43202). Admission: $10, $15 for 2. Doors open 8pm. BYOB, all ages. Our Frequency Fridays 2018-2019 season is supported by grants from the Greater Columbus Arts Council, the Ohio Arts Council, and the Columbus Foundation.

About the performers and artists:

Adi Newton is the founder of industrial post-punk group Clock DVA and the ANTI Group, an industrial jazz and visual arts project created in tandem with engineer Robert Baker. He is also the director of ARMComm Anterior Research Media Communications, the production arm for ClockDVA/TAGC.

Circuitry Room is a think tank for audio exploration. The founding members are Andrew Izold, Jeff Chenault and Dan Rockwell. They have been playing together on and off since 1989. Their combination of old-school electronics and high tech digital applications culminate into a wall of sound that is beyond categorization. Based in Ohio, Circuitry Room seek out new forms of expression while maintaining a dark mischievous edge. Their sound is constantly changing and evolving while their “live” sonic improvisations provide a unique and challenging listening experience.

Matt Swift is an all-around visual artist living in Columbus, Ohio. His work is not limited to any one medium or mode including photography, painting, video, digital compositions, mixed media and anything else that may be a source of inspiration. With an education in Art History, Film and Media Studies, and Library Science, the majority of his work stems from a deep connection to the historical avant-garde and experimental movements of all art forms. Juxtaposition of styles to find new abstract connections is where most of his work begins. Every piece is scientifically and creatively an experiment with a hypothesis that is tested and either is proven or disproven. What engagement occurs when you mix meditation and action painting to create a wall scroll combining the styles of Jackson Pollock and Zen Buddhist painters? What about the combination of purist structuralist cinematic techniques with the motivations of Norman McLaren’s frame by frame hand etched animations inspired by music? The end result encompasses a documentation of the experiment fit for a postmodern world, updating and educating about the styles of old through the lens of the plethora of information that is at the fingertips of our ever shrinking but also expanding digital world.

His current work is a conversation with alternative methods of landscape and portrait painting as performance to overcome his physical disability using various digital technologies. His recent work explores the intersection of human interaction and programmed robotics. His paintings embody the artist’s movements, application of paint, and interference with a robotic vacuum cleaner which through random object avoidance and rotating brushes serves as the mark making tool.

Since her teens, Columbus video artist Nicolette Swift has been capturing life in her videos. In 2005 she graduated from The Ohio State University with a double major in Art History and Film and Media Studies. While in her undergrad she discovered a love for working with archival materials. She obtained a Masters of Library and Information Science with a focus in multi-media access from Kent State University in 2007. Since then she has worked with many individuals as well as The Ohio State University, Columbus International Film + Video Festival, Independents’ Day Festival, PPG, and Hammond Harkins Galleries to create multi-media content. With the help of her husband and the support of OSU’s Film Studies Program she co-founded The Columbus Moving Image Art Review, which has been holding quarterly hour-long screenings since 2009. Currently, her personal projects include avant-garde video essays that incorporate found, archival, and cultural materials.

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