R. Eric McMaster
Lives and works in Austin, TX, USA
Artist statement
I disrupt the familiar using materiality, context, or space as a way to highlighting absence, humor, and/or awe. Often, athletes, performers, and/or experiences are jolted or shifted in some way, be it environmental, situational or through interaction with an object. I have a truly interdisciplinary practice and my work has involved multiple sports teams, Olympic-bound figure skaters, professional baseball and football players, elite musicians and composers. I often have performers execute their routines in a different context. As they struggle to find their grounding and get back to what they know, we watch. We see the awkward gap between potential and reality. The performer’s humanity is revealed; we can relate to their discomfort. As viewers, we experience the familiar disrupted and we often can’t clearly categorize the experience. It generates moments of wonder or absurdity, sometimes at the same time. I’ve worked with musicians to accompany the acoustic environments and enhance landscapes. I’ve expanded and compressed the way music is played or experienced. I’ve created objects that shift our perception through materiality. Videos have framed specific moments that suspend our assumptions. With dislocated performances, images, and/or objects, we do a double-take in an attempt to comprehend. Reframing or distorting the familiar shifts our understanding and we can start to register an unnamable thing that is often missing from our vocabulary.
Artwork
- Drift (videos), 2022. two-channel video installation with 4-channel sound, salt encrusted objects.
- Drift (installation view), 2022. two-channel video installation with 4-channel sound, salt encrusted objects.
- Bells Suspended from Clouds (exhibition walkthrough), 2019. Video walkthrough of an exhibition. The central piece consists of wood, wire, electronics, hardware, and colored light. Electronic devices magnetically oscillated seven tuned wires that naturally resonated through the ceiling and walls of the gallery. The resulting hum held an A Major chord. The lights were tinted to correspond to the tuning of the nearest wire, according to composer, Alexander Scriabin’s circle of fifths which charted his synesthetic experiences with sound.
- An Accompaniment to a Stringed House in A Major, 2019. Documentation of a performance by a string quartet accompanying the hum of an audio installation in the gallery. The musicians moved about the space while slowing drifting from the tonal qualities of the sound installation. At a point during the performance, the violin players played on the custom-made conjoined violin. Composition conceived of by the artist, arranged and performed by the quartet, Invoke. duration: 18 minutes
- An Instrument for a Duet, 2019. wood, varnish, strings, hardware.
- A Routine in Parts, 2017. two-channel video with sound documenting competitive dancers performing without their partner.
- The Wrestler(s), 2020. 3d printed ABS and PLA plastic, expandable foam, EPS foam, steel, epoxy resin, paint. Life-sized separate reproductions made from 3d scanning a 19th century plaster replica of the classical sculpture, The Wrestlers.
- A Change in Atmosphere, 2015. 1080p video featuring a competitive gymnast performing his routine underwater on a custom pommel horse made of high density polyethylene, aluminum, and stainless steel.
- Pendulum, 2014. 1080p video focused on the swinging of a runner’s ponytail, looped
- The Obstruction of Action by the Existance of Form, 2013. object, photograph, and projected video involving two hockey teams in a custom-made rink.
- A Colored Image of the Scrum, 2014. inkjet print of rugby players wearing custom-made uniforms