Mary Lucier began working in video in the 1970s, after first exploring sculpture, performance and photography. Early works, such as Dawn Burn (1975) and Bird’s Eye(1978), are empirical records of the optical effects of light on the camera’s eye. Aiming a laser directly at the camera or pointing a lens at the sun, she burned the vidicon tube in real time, inscribing it with calligraphic abstractions of light. In addition to installations, she has also produced video dance works with choreographer Elizabeth Streb, exploring relationships of the human figure, sculptural movement, and landscape. Among her many awards are a Guggenheim Fellowship and an American Film Institute Independent Filmmaker Grant, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts. Lucier has had solo exhibitions at The Carnegie Museum of Art, Wadsworth Atheneum, LACMA, Dallas Museum of Art, San Francisco Museum of Art, and MoMA.

Luke Stewart‘s ensembles include experimental jazz trio Heart of the Ghost, Low Ways Quartet, and experimental rock duo Blacks’ Myths. As a solo artist, his interests are in compiling a series of improvisational sound structures for Upright Bass and Amplifier, utilizing the resonant qualities of the instrument to explore real-time harmonic and melodic possibilities. He has performed at the Kennedy Center, the Atlas Performing Arts Center, Smithsonian Portrait Gallery, and many other venues. Luke also performs in Ancestral Duo, Irreversible Entanglements featuring Moor Mother, James Brandon Lewis Trio, Heroes are Gang Leaders, and other notable collaborations. He has been featured at numerous festivals, including the Vision Festival, Ende Tymes Festival, Sonic Circuits Festival of Experimental Music, and High Zero Festival of Experimental Improvised Music.

Miriam Parker uses sound, paint, light, movement, video projection and sculpture/installation to create media- and performance-based works. Parker’s practice, in both performance and film, emerges from her understanding of the body in relationship to objects and space. Conceptually, Parker focuses on the permeability of identity and our capacity to adorn ourselves with ideas as a way of identification. Her work has been greatly influenced by her connection to free jazz tradition, and her study of Buddhism, phenomenology, and kinesthetic empathy. Miriam has been developing work as a solo artist, and in collaboration with visual artist Jo Wood-Brown under the working name of InnerCity Projects. She currently works as a performer in collaboration with Yoshiko Chuma and The School of Hard Knocks. ​

Patrick Cain is a multimedia artist working at the fringes of low-tech interventions and constructions. Visual interests include webcam microscopic inspections of textures and auto focus failures, as well as rudimentary feedback exercises. Sonically, Cain is one half of experimental band Model Home (with Nappy Nappa) which works with ancient and misused electronics including home built synthesizers and modified tape machines, as well as vocal performance.

Bob Bellerue‘s Piano Scramble is an improvised work for piano soundboard, percussion, and electronics. Rooted in the multi-level feedback systems at play in his long-running Damned Piano project, Scramble mixes in an armful of metal bowls, cymbals, cans and other objects as resonators and percussive elements, to create a site-specific sonic array that harnesses the gallery’s acoustics with a wide dynamic range.