NELLY KATE — STUDIO ARTIST

Transdisciplinary practice centering access through sound, language, and the poetics of translation. 


CONTENTS


01 The Difference

02 nowisthe
03 Nevermind
04 FutureFluid

05 [Untitled] 6 Cylinders

06 I Hear You, But I Can’t Hear You
07 Transistors in Translation


STATEMENT

My work is about perception of place as shaped by the built environment and sound. Intersecting Queer, Deaf, Southern, and Hispanic culture I focus upon cultivating ecosystems of inclusion to make way for public imagination.

I blend sophisticated responsive technology with lo-fi mechanisms like cassette tapes, stop-motion animations, radio frequencies, Xerox prints, and electronic synthesizers. These tactile materials illuminate the terrestrial and electromagnetic phenomena which our bodies sense but cannot readily name.

Through multi-sensory installation I explore expanding time, breaking and remaking meaning, and cultivating ecstatic magic. At the core of my practice is the idea that imagination is foundational to building the world of our dreams and that we need as many people as possible accessing their imaginations to create inclusive communities.



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H0ME CV •  HITS 
NELLY KATE 03 — SEP 2020

Nevermind






The world is very noisy. It’s very loud. It’s sonically harsh. I’m referring to the constant shush of interstates, the collective hum of air conditioners, the horn-blaring road-raging drivers, the din of a restaurant, the corona discharge on high-tension power lines, sirens, dogs barking, televisions cycling, trains clattering, and air brakes.  
Of course, its also very quiet. At times, stunningly euphonic. And at times, aurally euphoric. I’m thinking of swishing grasses on a Kansas prairie, the gurgling lap of tides on a jetty, evensong of woodland birds, and the echo of  subway buskers, whispered secrets, rain on a tin roof, thunder in the distance, and a choir of cicadas thrumming in the oaks. 

As these sonic experiences fade from my perception, I am increasingly confounded by mundane communication, and my desire to engage with the acoustic landscape wanes. Through this work, I continue to grapple with pluralism. My partial deafness suspends me in the interspace between  hearing & Deaf communities.