is a 58'30” audiovisual work that emerged from the manipulation of light to generate imagery as well as using a combination of extended techniques applied to sonic-material sources, including translation of image to sound to create the 5.1 surround audio composition. the work utilizes various analog and digital procedures and a variety of software processes to manipulate the moving image and sound. the work's imagery ranges from dark to light monochromatic spheres, shifting dynamics and intensity, including flickering and pulsating patterns, retinal impact, and sensory overloads. the sound composition focuses on timbre, low ends, modulated frequencies, textures, static noises, and electronic sounds moving through space. other sonic layers were created through the use of electromagnetism, custom electronic sounds, and voices scored for the work and performed in a recording studio by artist marylea martha quintana.

electrochroma requires a physical space with the projecting wall, the side and back walls, and the floor covered with flat black paint. surround sound envelops the space in a seamless manner and visitors are welcome to enter and exit this immersive environment as they please.

for this work, richard garet began with 16mm celluloid that he directly intervened by hand to shape the light emitted from the film projector. various takes of the footage were performed, digitized, and a further system was established where these images could be played and processed in real time with a computer. garet also rendered and processed the projected light as an audio signal integrating it as an additional layer in the sonic mix.

this work was premiered at the crossing the line festival organized by the french institute alliance française (fiaf) in partnership with the invisible dog art center. it was presented at september 25–november 28, 2010.

special thanks to marylea martha quintana for producing such wonderful vocal sounds consequently adding unique richness and color with her voice to this work.

special thanks to lucien zayan and the invisible dog for the wonderful support and exhibition opportunity.

dedicated to the memory of maryanne amacher 1938-2009. maryanne's valuable feedback during the creation of this work was crucial for making significant choices that helped the piece reach its completion.

is an audiovisual piece composed with processed video recordings of sunlight bathing the ocean tide. the sound composition in the piece was created from audiocassettes eroded underwater to accelerate the decomposition of the material.

on may 15, 2009 the emf, electronic music foundation, with the curatorial vision of suzanne thorpe, presented a series of space interventions as a group exhibition in the lightship frying pan, located at pier 66 maritime, in new york city. the group exhibition “sounds in the frying pan” consisted of site-specific installations that were multimedia, but focused primarily on sound. all artists were assigned unique and discrete environments inside the ship to develop their projects. richard garet’s inner-outter was created for the frying pan and formatted as a single video channel projection with 16 channels of sonic output.

garet focused on the synergy of wearing-down, disorienting movement, sunlight touch, and the most obvious qualities of the context as the driving force to select material and to establish such processes in the work itself. to capture the imagery he used an early generation inexpensive single chip dv-tape digital camera. garet pushed the camera lens to capture under optical distress the direct sunlight hitting the water obtaining high-contrast and saturated takes. consequently, the imagery was washed out to black and white, further highlighting the contrasted reflections of light bouncing back. the sound composition in the work was created translating such properties of erosion and decay in the ship to a sonic medium that could be physically malleable. garet focused on audiocassettes, which due to their ephemeral qualities are susceptible to such a rigorous processes as he sought unexpected, yet rich-textural, sonic results. the combination of the moving image with the sound composition created an audiovisual piece that enveloped visitors in a disorienting, sensorial, physical and psychoacoustic-responsive environment. as a result, visitors found themselves in an environment of 16 channels of sound looking at a screen with disparate motion, all while standing in an environment with motion of its own.