Biography
Composer, sound sculptor, and improvisor, Louise Fristensky (b. 1987) is deeply invested in collaborative sonic spaces and discrete sound worlds. They enjoy creating lines of communication within her works through explorations of the timbral connective tissues of sound-spaces. Louise’s works continue to travel a variety of conceptual models, generally regarding ideas of personal and shared experience and personal/social mythologies as the agreed-upon reality of existence, and the un-reality of shared experiences and nostalgia.
Louise is currently collaborating on a work for large ensemble and facial choreography with rising new music ensemble Nu Atmospheres. They have recently collaborated with Christopher Poovey on a jointly-developed ambisonic interactive installation Singing Bones of Piano Fall, with Brietta Greger / Katie Eikam / Jordan Curcuruto on a work for percussion trio Grrrowl for The Contemporary Commissions Project, and with Morgan Horning (soprano), Miguel Espinel (electric guitar), and Ula Rucka (harp) on the creation of A Love Song.
As a sound sculptor and burgeoning visual artist, Louise is interested in exploring textural- and color-connected spaces, pseudo landscapes and implied worlds, and in the creation and curation of shared experiences or transformations. Her work Shit Time Machine – continuously in development – uses Nostalgites within the time machine chamber to transport the participant to the temporal location of their divining. In Shared Waters, a bass transducer is used to vibrate the waters in both a provided conductor bowl and within the submerged hand and wrist of the participant.
Louise is currently collaborating on a work for large ensemble and facial choreography with rising new music ensemble Nu Atmospheres. They have recently collaborated with Christopher Poovey on a jointly-developed ambisonic interactive installation Singing Bones of Piano Fall, with Brietta Greger / Katie Eikam / Jordan Curcuruto on a work for percussion trio Grrrowl for The Contemporary Commissions Project, and with Morgan Horning (soprano), Miguel Espinel (electric guitar), and Ula Rucka (harp) on the creation of A Love Song.
As a sound sculptor and burgeoning visual artist, Louise is interested in exploring textural- and color-connected spaces, pseudo landscapes and implied worlds, and in the creation and curation of shared experiences or transformations. Her work Shit Time Machine – continuously in development – uses Nostalgites within the time machine chamber to transport the participant to the temporal location of their divining. In Shared Waters, a bass transducer is used to vibrate the waters in both a provided conductor bowl and within the submerged hand and wrist of the participant.
Louise seeks out waves of timbral matching and clouds of contrast to guide both their solo and collaborative treks through sound as an improvisor and multinonstrumentalist. Their most frequent collaborators are Monte Espina (Ernesto Montiel, Miguel Espinel) with whom they toured Denton/Dallas/Austin/Houston TX in the summer of 2019, Quartet Fandatan (Ernesto Montiel, Miguel Espinel, Andrew Jordan Miller, Karl Roehling), and Daniel Ryan, and she has performed with Magic Improv Ensemble, Sarah Ruth, Adam Goodwin, Sybil Jay, Jacob Thiede, and Vic Rawlings.
Louise has also participated in and had their works performed at numerous new music events and festivals including Audio Art Festival 2019 in Krakow, Soundlings Festival 2018 in London, LaTex 2016, FURY: the will to be heard co-hosted by CUSP and Stone Mason Projects, and the nief-norf Summer Festival both as a fellow and as the Composition TA (2016 & 2017).
Louise has also participated in and had their works performed at numerous new music events and festivals including Audio Art Festival 2019 in Krakow, Soundlings Festival 2018 in London, LaTex 2016, FURY: the will to be heard co-hosted by CUSP and Stone Mason Projects, and the nief-norf Summer Festival both as a fellow and as the Composition TA (2016 & 2017).
Currently pursuing her PhD in Composition at the University of North Texas, Louise has studied composition with Kirsten Broberg, Sungji Hong, and Andrew May, intermedia with David Stout, acoustic ecology and sound art with Panayiotis Kokoras, creative coding with Stephen Lucas, cybernetics and creative coding/generative graphics with Martin Back, and sculpture with Alicia Eggert. They pursued graduate coursework at Rutgers University and studied with composer Steven Kemper. She holds a B.M. in Music Composition and Theory from New York University where she studied with Youngmi Ha. Through the nief-norf Summer Festival they have studied composition with Christopher Adler, Tonia Ko, Christopher Burns, Nina C. Young, Marc Mellits, and have participated in an improvisation workshop with Tim Feeney. Previously, she studied classical voice and flute under Ron Cappon and Soo-Kyung Park, respectively, at the Manhattan School of Music Precollege Division.
Other Interests
photo credit: Christopher Walker
Every Sunday 4-6PM CST on KUZU 92.9FM Denton, TX Louise, along with co-host Christopher Walker, curates and produces Tonotopicalia; a two-hour radio show which showcases a cross-section of the pop, experimental, and avant garde.
On the Tonotopicalia weekly posts as well as in other presentation spaces, Louise's love of poetry and the sussing out of the written word sound world are liminally present.
Louise also serves as the Artistic Director of rising new music ensemble Nu Atmospheres, and as the curator of Second Blue Door.
On the Tonotopicalia weekly posts as well as in other presentation spaces, Louise's love of poetry and the sussing out of the written word sound world are liminally present.
Louise also serves as the Artistic Director of rising new music ensemble Nu Atmospheres, and as the curator of Second Blue Door.
CV
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A full CV is available for download. Last updated 30 March, 2020
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