“Felicia Glidden is an artist who is versed in many genres of art. But she always works with energy, strength and unusual approaches—almost multi-medial again. In the texts of her installation one hears her consider questions of (dream)time, (dream)reality, (dream)symbolism and yes, if you will, also dream-paths. And it becomes clear that she deals with all of this from the point of view of physical materiality.”Dr. Johann-Peter Regelmann, September 24, 2014
“The symphony “Prometheus: the Poem of Fire (1910) by Russian pianist and composer Alexander Scriabin (Moscow, 1872-1915) was the first composition in history to include notation for lights, interlacing color with sound to create multi-sensorial harmony. Scriabin envisaged the use of a color keyboard to transpose the “Luce” part of his score into colored light projections for his symphony, associating the 12 tones of the chromatic scale with 12 colors that changed in conjunction with the basic tones of the harmonies. A specially designed multi-color light projector with colored light bulbs was made from the mpodel by physicist Alexander Moser for the first performance of Prometheus, which was given in Moscow on March 15th, 1911, but the machine that was supposed to perform the lighting part did not operate. The first public presentation of Scriabin’s symphony accompanied by colored lighting occured a year later at the Carnegie Hall in NY. The color portion of the score was played with a color-projection instrument, later named the Chromola, made by Preston S. Miller, a specialist in lighting.” From the Catalogue for “Art or Sound” exhibition at the Fondazione Prada in Venice in 2014.
This video was part of a project which took place inside of a water reservoir where a community in Switzerland was celebrating 60 years of their water system. 60 Jahre Wasserwerks ABRW (Au-Balgach-Rebstein-Widnau). The artistc director of the project was Alain Wozniak. He developed a series of electronic compositions which was accompanied by live music and a three channel video installation by Felicia Glidden.
Alain Wozniak; clarinet, flute, bass clarinet, and ipad, Phillip Wozniak; bass and electric bass, and Anna Katharina Aichroth; birimbau, drum and capoera dance. October 2014
Between Two Rivers III is a sculptural sound installation: Two channel video, steel, handmade paper, sound 13:56 minutes , dimensions variable, 2012 -2014. The theme of the work is undercurrents. This clip shows a live performance inside of the installation from Kunstnacht Konstanz 2014. Ravelation is an original work inspired by Ravel, composed and performed by Alain Wozniak in the Galerie Bagnato for Kunstnacht Konstanz in September 2014 at the solo exhibition Unterströmungen by Felicia Glidden.
a place to land cast iron 20 x 23 x 23 cm 2005
prelanding cast iron 28 x 43 x 28 cm 2006
matris fe IX cast iron 61 x 28 x 28 cm 2009 and acorn vessel cast iron, enamel 28 x 58 x 41 cm 2010
matris fe IV cast iron 58 x 25 x 30 cm 2007
matris fe V, cast iron 61 x 41 x 51 cm 2007
His Voice was sweet like Honey steel, wax, stereo , aluminum, copper wire, 29 minutes, 2010
Between Two Rivers III, steel, handmade paper, stereo, two channel video projections, 2014
Cimmerian Light set for Sharon Mansur 2011
Immersion 2010, was an installation at the Herman Meril Gallery at the University of Maryland. A hexagon shaped room had speakers built into the walls, painted dark brown, with no lighting but for faint lights on the stairs leading down into the space. The floor was covered with sand, which directly affected the acoustics of the room. The 5.1 surround sound had many layers of sounds; crickets, bells, water fountain, and singing. The spoken text referenced water in many forms; ice, rivers, sinks, snow, lakes, flooded rooms. Multiple voices were layered on various channels within the space yet distinct threads of narration could be singled out by moving close to individual speakers. The ideal location to listen to the piece was on a blanket lying in the middle of the space. The voices and sounds echoed the nature and complexity of memory; it’s tenuous and shifting elusiveness. Basil and peppermint oils were sprinkled into the sand, creating an olfactory sensation. The piece was meant to heighten the sensory experience by removing the visual element and engulfing the viewer in darkness. The sand on the floor underneath echoes the threshold at the water’s edge, but also implies a shifting boundary; calm uncertainty.
“The music connects synchronistically with the pictures that spread out over the whole breadth of the stage above the orchestra, a never-ending sequence of pictures flowing into one another, here real landscapes, the crashing spray of the sea or rock formations, there solarized alienation or total dissolution in abstract painting, in which the musicians are steeped in corresponding colors….Full sound, light play and suggestive video images stormed the audience Sunday morning in the Graf-Zeppelin-Haus engaging all of the senses.”Christel Voith for Schwäbische Zeitung