Experimental electronic musician Lesley Flanigan chats about her upcoming streamed performance at Roulette—a solo set for voice and minimal sine-wave electronics intended to be heard by listeners at home using their headphones. Though Flanigan will be performing live at Roulette for this event, there will be no sound amplified within the performance space. Why should there be? Flanigan talks about her work as a sculptural practice, and sound as a sculptural material that can be shaped and experienced through amplification, or lack thereof.
Lesley Flanigan is an experimental electronic musician living in New York City. Inspired by the physicality of sound, she builds her own instruments using minimal electronics, microphones, and speakers. Performing these instruments alongside traditional instrumentation that often includes her own voice, she creates a kind of physical electronic music that embraces both the transparency and residue of process — sculpting sound from a palette of noise and subtle imperfections. Her work has been presented at venues and festivals internationally, including The Red Bull Music Festival at Saint John the Divine (New York), De Doelen (Rotterdam), Sonar (Barcelona), The Pritzker Pavilion at Millennium Park (Chicago), the Guggenheim Museum (New York), The Kitchen (New York), The Broad Museum (Los Angeles), ISSUE Project Room (Brooklyn), TransitioMX (Mexico City), CMKY Festival (Boulder), the Roskilde Museum of Contemporary Art (Denmark) and KW Institute for Contemporary Art in Berlin.