Four communities in Switzerland were celebrating 60 years of their water reservoir and we were invited to create a sound and video installation. The program was performed 6 times. Between the 1/2 hour programs, I was projecting historic and more current photos of the building and maintenance of the reservoir. The imagery includes all forms of water, paintings and photographs from my visual archives.
Prometheus 2015 Symphony for Orchestra, Light and Video installation at the Muttertagkonzert “Sound and Colour” 14 x 5 m (46 x 16 ft) Graf-Zeppelin-Haus, Friedrichshafen, Germany; 2015
For Philippe Wozniak’s version of Prometheus 2015, I developed a series of short videos from the landscape, and urban settings. I am onstage with the orchestra using VJ software Resolume Arena with an AKAI controller to coordinate moving photographs, layered imagery and moving light to correspond with the music. The colors shift in speed, intensity and transparency to the movements: Will of the Spirit, Humanity, Dreams, Damnation, and Freeing of Prometheus.
Felicia Glidden Live Video Composition
Philippe Wozniak Composer
Symphonisches Jugendblasorchester Friedrichshafen
Alain Wozniak Musical Director
Daniel Dominguez Teruel Sound Design
Winfried Schlerde Poem
Viola Sauter Reader
Improvisation Julius Rreger Bassoon Nicolas Wozniak
I saw the Art or Sound exhibition at the Fondazione Prada in Venice in 2014 which showed the original color keyboard by Scriabin. The catalog had this to say about the symphony Prometheus: the Poem of Fire:
“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 model 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 happened 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.
Composer Philippe Wozniak on this work:
“Every sound that surrounds us, every note, which is played is oscillation. Each color and structure that we see is also a vibration. They all obey similar laws. Where do the combination of these oscillations of color, structure and music lead us?
This question that composer Alexander Scriabin asked in the early twentieth century are revisited by these artists today. Based on Scriabin’s orchestral work “Promethee” (Le Poeme du feu; op. 60) and the myth of Prometheus, Philippe Wozniak collaborates with musicians and visual artists to create a contemporary sound, music and moving light installation.”
This work is supported by Netzwerk Neue Musik , Baden-Würtemburg Stiftung, Kulturbüro Friedrichshafen and Sparkasse Bodensee.
This set design and build project for dancer Sharon Mansur included a kinetic hanging sculpture made of steel and rubber, small fiberglass containers based on the work of Eva Hesse, and hanging steel screens for refracting the light.
Scenic Design / Build
Choreographer / Dancer
Costume Design / Build
“Solo embodying literal and metaphorical ideas concerning darkness and light, and the concept of wabi-sabi, inspired also, in part, by the work of visual artists Eva Hesse and Ana Mendieta. ” S. Mansur
Performed at Movement Research at Judson Church, New York City in November 2011, full premiere at University of Maryland, February 2011; and also performed at the RADFest Alternative Dance Festival, Michigan, March 2011.
…with Sharon Mansur, whose cimmerian light meditated quietly on the Japanese concept of wabi-sabi—finding beauty in the imperfect, incomplete, and impermanent. The set, by Felicia Glidden, was exquisite, with its hanging sculptures of wires and paper, lit by the soft glow of lanterns. While the movement was peaceful and pleasing to watch, it hit the same note the whole way through, rarely changing pacing, tone, or depth.” Emily Macel Theys – 2011
To support my art making + research, buy original art from €50 – €4600 at ProjektraumFN.
A 2009 Art shanty project, this was an experiment in whether our guests could generate enough electricity using pedal power to boil water and make coffee in an ice house on the a frozen lake. I collaborated with my siblings Veronica and Colin Glidden and for 5 weekends (+Weds.) we were on Medicine Lake making coffee. We received a grant from the Art Shanty Projects, and our friends supported the project with materials and cash. We invited musicians to play. You can see and read more on the original blog.
video sound recorded live on Medicine Lake of Tim Kaiser (Electronics) Shawn Glidden + Friends (Old Timey), Emme, Issac + Martha (´poetry). Mix by F. Glidden