‘Sound is just as physical, tactile and experiential as any other material,’ Virginia-born Kevin Beasley told an interviewer in 2012. When confronted with his work, it’s hard to disagree: Beasley incorporates music, unexpected sonic trickery and incidental noise into his ‘sound sculptures’ – such as a Steinway piano with embedded microphones, which produces eerie percussive noises when played. His floor-based sculptures make use of found objects, pressed into resin and polyurethane foam as it hardens – a focus on process that has also been key to his performances at museums, including the Dallas Museum of Art and the Guggenheim in New York.
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