Andrea Parkins Biography:
Andrea Parkins is a sound artist, composer, and electroacoustic improviser who investigates relationships between the body, material, sound, space and situation. Her sonic materials include acoustic and software instruments, electronic feedback, amplified objects and amplified drawing tools. As a performer, she is known for her pioneering work with her electronically processed accordion and investigation of embodiment and chance with her custom-designed software instruments. Described as a “'soundist' of protean talent" by American critic Steve Smith, Parkins’ use of electronics, amplified objects, and Fender-amped accordion creates sonic fields of lush harmonics and sculpted feedback, punctuated by moments of gap and rift.
Parkins’ works encompass multi-channel sound installations; electronic music pieces; electroacoustic performances and compositions; and sound for contemporary dance, experimental film and intermedia performance. Her projects have been presented at the Whitney Museum of American Art, The Kitchen, Experimental Intermedia, Kunsthalle Basel, Kunsthall Bergen, All Ears and Blow Out! festivals, Oslo; Borderline Festival, Athens; Music Unlimited, Wels; Musée d’Art Moderne et Contemporain, Strasbourg; NEXT, Bratislava; and Cyberfest, St. Petersburg, among many others. She performs as a solo artist, and has collaborated with artists such as The Necks, George E. Lewis, Magda Mayas, Nels Cline, Ute Wassermann, Miya Masaoko, Stephen Vitiello, choreographer Vera Mantero, interdisciplinary performance artists The Body Cartography Project, filmmaker Abigail Child, and many more.
Parkins’ notable works include her amplified drawing series, implemented in 2017 when she was an invited resident artist at the Rauschenberg Residency in Captiva, Florida, and her site-configured multi-channel performance/installation, Two Rooms, Variation 1, for 40 loudspeakers and Solo Performer, premiered in 2016 at Usine C in Montreal, at the Akousma Festival for Immersive Digital Music. Other projects include Two Rooms from the Memory Palace, a generative multi-room fixed-media work, premiered at the 2015 New York Electronic Art Festival; and her 8-channel composition, Faulty (Broken Orbit), featured in the sound exhibition, “With Hidden Noise” (2012-2015), which toured in the US and Australia. The Fragmental Museum in New York City presented her performance/installation Austell 1 (2012), which funneled live sound from the Long Island City rail yards into a reverberant warehouse space, with interventions from a walking bell ringer and Parkins’ own processed accordion feedback. Parkins portable audio work, Object or Ob-jest? was presented at Cyberfest 2011 in St. Petersburg, Russia, and in the previous year she was invited by artist Christian Marclay to perform interpretations of his graphic scores at the Whitney Museum of American Art’s retrospective festival of his work. Parkins toured from 2009 to 2012 with contemporary dance theatre artist Vera Mantero’s production, We Are Going to Miss Everything We Don’t Need, featuring Parkins’ score for amplified performers, objects and surfaces. From 2010-13, Parkins performed her 12-channel score for Symptom, an intermedia performance work by The Body Cartography Project.
Parkins’ recordings are published by Important Records, Confront Recordings, Atavistic, Henceforth Records, Infrequent Seams, and Creative Sources; she can also be heard as a contributor on labels such as hatart, Cryptogramophone and Clean Feed. Her writing is published by Errant Sound. She has been an invited resident artist at the Rauschenberg Residency (US), Elektronmusikstudion-EMS Stockholm, Harvestworks Digital Media Arts Center (US), Performing Arts Forum (FR), CESTA (CZ), and by Frei und Hanseastadt Hamburg Kulturbehoerde. Her work has been supported by the American Composers Forum, Berlin Musikfonds, French-American Cultural Exchange, Meet the Composer, New York State Council on the Arts, and Wave Farm Media Arts Assistance Fund. Parkins holds an MFA in Visual Arts from Rutgers University where she studied with Martha Rosler.