C. Lavender

C. Lavender (Lavender Suarez) is an interdisciplinary sound artist, sound healing practitioner, and educator based in New York City. She is the author of "Transcendent Waves: How Listening Shapes Our Creative Lives," a contemplative artist’s workbook that explores how listening can spark creativity, foster self-awareness, and cultivate mindfulness. C. Lavender has held three pivotal roles that closely align with her artistic practice: she served as the first sound design educator at the Museum of the Moving Image (NYC), managed the studio and archive of one of the largest private vintage synthesizer collections in the U.S., and assisted the late “Deep Listening” composer Pauline Oliveros. C. Lavender has performed, lectured, and hosted workshops at MoMA, The Whitney, The Guggenheim, Hirshhorn Museum, The Rubin Museum, The Brooklyn Botanic Garden, Fridman Gallery, Cafe Oto, and Rensselaer Polytechnic Institute, among other venues. She has been an artist-in-residence at Sonic Acts (Amsterdam, NL), Elektronmusikstudion (EMS) (Stockholm, SE), Wave Farm (Acra, NY), Pioneer Works (NYC), Harvestworks (NYC), Kurimanzutto Gallery (NYC), and A+E Lab (Chatham, UK). C. Lavender's music can be found on the labels Editions Mego, iDEAL Recordings, Ecstatic Peace!, and RVNG Intl among others.

Walt McClements

Walt McClements is an accordionist, multi-instrumentalist and composer based in Los Angeles. His solo compositions focus on processed accordion, creating patient and emotional meditations that nod to drone and ambient music. His debut record, “A Hole in the Fence” was released in 2021 on American Dreams, and utilized a minimal palette of accordions processed through pedals to create glacial soundscapes and odes to hidden worlds. On his latest record, and first for Western Vinyl, “On a Painted Ocean”, he expands his sonic tools to include lush synths, droning pipe organs, and spirited horns, creating a vibrant journey from solitary stillness to community exuberance. The record also follows last year’s “Rain on the Road”, a collaborative album with harpist Mary Lattimore, released on Thrill Jockey. Prior to releasing music under his own name, McClements had been a touring member of Weyes Blood, Hurray for the Riff Raff, and Dark Dark Dark, as well as leading New Orleans art-punk brass ensemble Why Are We Building Such A Big Ship? and one man band Lonesome Leash.

Accessibility: ArtSpace West is wheelchair accessible and has no fixed seating. Benches, chairs, and beanbags will be provided. There is an accessible restroom directly adjacent to the gallery. 

Free Parking is available at ASU Lot 6 at 51st Dr. and W. Wood Dr.

Paid hourly parking is available at all other parking lots on campus. 

ArtSpace West is located centrally on the ASU West Valley campus. It can be located just off the courtyard of the new Academic Office Building (AOB). Please review the campus map for further details. 

Street address: 4873 West Verde Mall Phoenix, AZ 85051

Friday, February 20th

6:00    Andee Maggle (Fixed Media)

6:15    Oscar Leonardo (Live)

6:30    Noemy Esparza-Isaacson (Live)

7:00    Tristan/Iseult (Live)

7:45    Jay Needham (Live)

8:30    Walt McClements (Live)

Saturday, February 21st 

6:00    IAP Lichen Ensemble (Recorded)

6:15    emergent:lonly. & NB// (Live Duo)

6:30    Seth Kasselman (Live)

7:00    Beck Rose (Live)

7:45    All Dogs Hate Demons (Live Trio)

8:30    C. Lavender (Live)

Jay Needham is an artist, writer/editor, and educator. As a multi-instrumentalist and visual artist, he creates sound art, music, productions for radio, visual art, performances, and installations that activate listening as a vital component of artistic perception. Through his works, he explores themes of militarism, surveillance, family archives, ecology, and autoethnography that are often informed by his life-long experience with hearing loss.

His sound art, works for radio, and visual art have appeared at museums, festivals, and on the airwaves worldwide including the Internationale Ferienkurse für Neue Musik (Darmstadt, Gemany), Art and Communication Festival (Riga, Latvia), New Media Scotland (Edinburgh, Scotland), Deep Wireless (Toronto, Canada), Kiasma Museum of Contemporary Art (Helsinki, Finland), FILE Hipersonica (São Paulo, Brasil), Third Coast Audio Festival (Chicago, USA), dLux Media Arts-Sydney Opera House (Sydney, Australia), and the International Festival of Antarctic Arts and Culture (Buenos Aires, Argentina). His installation documenting the sounds of Neotropical rainforests is on permanent display in the BioMuseo, designed by Frank Gehry, in the Republic of Panama.

Needham is the editor of Resonance: The Journal of Sound and Culture, published by the University of California Press. His writings have been published in Exposure, Soundscape: The Journal of Acoustic Ecology, and Leonardo Music Journal and in the book, Hearing Places: Sound, Place, Time, Culture. Professor Needham is a member of the Humanities and Social Science Expert Group with the Scientific Committee on Antarctic Research (SCAR), as well as a member of the Library of Congress’s Radio Preservation Task Force. He is the Director of Graduate Studies for the MFA program in the School of Media Arts at Southern Illinois University Carbondale.