Gabie Strong is a California artist and musician exploring spatial constructions of degeneration, drone and decay as a means to improvise new arrangements of self-reflexive meaning. Strong uses sound performance, radio broadcasting, environmental installation, photography and video as a mediums for experimentation. Current themes in her work address the use of ritual acts and fetish collecting to expose constructions of feminine being.
In 2016 Strong launched the Crystalline Morphologies music label to release work referencing the mineralogical process of crystal growth - the process by which organic materials take shape under the influence of environment and time. As a musical concept, it speaks to the self-reflexive dialectic formed between structured composition and improvisational acts as they unfold over time. Strong hosts the experimental music program "Crystalline Morphologies" on Kchung Radio every Thursday night from 7-8pm pacific time.
Her work has been presented at The UCLA Hammer Museum, Sierra Nevada College, Current LA: KPARK, MOCA, Los Angeles Contemporary Archive, Pasadena Armory Center for the Arts, Knowledges at Mount Wilson Observatory, Pitzer Art Galleries, University Art Gallery UC Irvine, LAXArt, Printed Matter’s LA Art Book Fair, Art Los Angeles Contemporary, Human Resources, SASSAS, LACE, High Desert Test Sites, LACMA, the MAK Center for Art and Architecture, and Jabberjaw.
Currently she is performing improvised, free-noise music under her own name on the Crystalline Morphologies label.
My work is an exploration of the affect of living in the spatial disorganization of every-day urban life. This disorganization is the result of living in multiple non-places at once—both physical and virtual— where borders are confining and permeable. I often collaborate with other artists, musicians and poets to create work that embodies the difference of lived experience.
Through experimental sound improvisations using guitar and voice, I am able to abstractly tease out the emotional impact of temporal morphological conditions. I do this in order to create new situations which invoke a self-reflexive examination of place for both myself and the listener/viewer. I push the material component of musical instruments through structured yet improvised acts to evoke repetition and difference, but without the measured notation used in standard composition. By doing this I am able to activate the space around my body through controlled resonance and amplified feedback.
My environmental installations are coded experiments using traditional image-based signs and signifiers. I use these structures to create a differential set of experiences for the viewer/participant. By placing these signifiers in landscape, I am able to provide a speculative fiction and unusual situation for the viewer.