Sound and visual artist, Rene Barge is self publishing independent and collaborative visual and sound art practices as Nautical Miami outside the context of Miami’s venues, project spaces, art galleries, and museums where he has been active since 1999 and has mainly focused on site specific publishing.
Working in multiple media, Rene Barge produces sound works, prints and videos. These are prismatic relays of the patterns he perceives around him. In each work lies the traces of complex orderings of distortions and filters. As records they simultaneously reflect multiple aspects of change at once, analogous to post-studio, post-digital cubism. Since earning a BFA from Florida International University in 1999, where he studied under his mentor, Christine Tamblyn (July 12, 1951 – January 1, 1998), he has shown individual and collaborative works. Examples of individual work can be found by exploring his exhibitions at Dorsch Gallery. His 2010 digital prints resulted from a visual process analogous to his sound work, in that he processed imagery through a series of filters. (Reflections on the screen of a TV, played on a TV screen, computer based interruptions and glass windows are some examples.) In his collaborative work with Gustavo Matamoros and David Dunn as Frozen Music (FM) the intervention produces an alternative ecosystem; during one performance in 2011, Rene Barge recorded mockingbird calls in Crandon Park on Key Biscayne over the course of a day, filtering them and then playing them back at the birds. The birds responded to the new sounds, such that as the collaborator changed the birds interactions, so too did the birds change the performer, effectively absorbing this new presence into a new ecosystem. Barge has shown at Dorsch Gallery since 1999.
About the Nautical Miami Collaborators
Kerry Ware was born in Southern California and received an MFA in painting at the University of Miami. Kerry Ware exhibits his paintings frequently in group and solo exhibitions and has evolved unique attention to sound practices along with the increasing development and availability of technology. His awareness of sound, its possibilities, and his very own praxis have led him to develop his own sound palette. As a painter Kerry Ware has always been primarily interested in color and texture. These formal attributes are what contribute to his sound compositions using a mixture of field recordings, clarinet and piano. Kerry Ware’s work, like the work of a Modernist, is driven by his interest in the material and what it looks like or sounds like. ” I believe some of Cage’s ideas have produced some of the most interesting music around these days. I am not sure music is everywhere, but that does not mean I am not going to take special notice of the sound of a circular door being swished around or the sound of a thin layer of water pouring over a massive rock.”