|"I am fascinated with technology, both modern and ancient, as an expression of our desires, fantasies and fears. In concerts I use sensors originally intended to foster a sense of security to create music. I record mechanisms from discarded tools and shape the sounds into abstract textures. I use raw digital data from documents and old software and transform them into sounds which reveal unspoken stories and sonic landscapes hidden in these digital highways which no one hears or sees. I consider myself a wired storyteller."
Laetitia Sonami is as much an instrumentalist, mime, dancer and performance artist as she is a composer. She builds instruments, writes computer software, records and sculpts sound elements and then, in haunting live performances, simultaneously controls her compositions and transcends technology through the use of gestural manipulators. Wielding her spiky black "Lady’s Glove," an ironically feminine elbow-length lycra mesh prosthesis embedded with sensors, she controls up to 16 musical parameters and translates custom-made mudras into sound. With text (written by Melody Sumner Carnahan), voice, and circular narrative a dominant element, Sonami’s work has been described as “an ongoing live performance novel.” Her most recent work, in collaboration with Nick Bertoni and The Tinkers Workshop, involves large scale installations made with inventors, scientists and school children.
1957, Paris, France
Lives in Oakland, California
1980 MFA, Mills College, Oakland, CA
|2002||"BAGS," an interactive musical/kinetic installation, in collaboration with Nick Bertoni and East Bay Youth|
|2001||"Birds w/o feet (cannot land)," composition for a choreography by Molissa Fenley|
with a light bulb no.5," sound installation
"Conversation with a light bulb," composition/live performance for voice, data sounds and light. Text by Jocelyn Robert
"Two Trees,"composition for a choreography by Wendy Rogers
"Vanishing Tower,"composition for a video by Terri Hanlon
|1999||"Mechanical Songs between Light and Shadows," composition/live performance for voice, live electronics, motorized wash-basins, computer-controlled shadows and saxophone (J.Ingle)|
like a loose engine (autoportrait),"
composition/live performance for voice, live electronics, and computer controlled
servo-motors. Text by Melody Sumner Carnahan
"Shaky Memories," Sound installation for automated rubber gloves and music.
for voice and live electronics controlled by the lady’s glove. Text by Melody
“She Came Back, Again,” for live electronics controlled by the lady’s glove. Text by Melody Sumner Carnahan
|1995||“Wilfred wants You to Remember Us,” for live electronics controlled by the lady’s glove. Text by Melody Sumner Carnahan|
|1994||“The ManananggalWomen Soignées,” a musical theatre work in collaboration with Marie Goyette and Melody Sumner Carnahan|
|1992||“Story Road,” for synthesizers. Text by Melody Sumner Carnahan|
|1991||“Mechanization takes command,” collaboration with Paul DeMarinis; for electronics, voice and slides|
|1982-90||“Pie JesuSounds from Empty Spaces,” “What Happened,” “Drole de Dimanche”, “While-U-Wait”|
|2000||Foundation for Contemporary Performance Arts Award|
|2000||Creative Work Fund Award for “BAGS,” a collaboration with N. Bertoni.|
|1999||Civitella Ranieri Fellowship|
|Solo CD (upcoming 2002), Lovely Music
Crachecophage, Avatar (collaboration with Jocelyn Robert)
The Time is Now, Frog Peak (compilation)
Story Road Jewel Box 26, Tellus (compilation)
What Happened, Nonesuch Records (compilation)
Pie JesuSounds from Empty Places, Music & Arts Prog. of America (compilation)