Coppice is the repository for the creative processes between Noé Cuéllar and Joseph Kramer in collaboration. It evolves from a shared glossary of study focused on sound and music:
Between 2009–2014, interactions between bellows and electronics were studied in a series of recorded compositions and performed sound installations, by exploring preparation techniques on old-age reed instruments (pump organs, shruti boxes) and modified devices (tape processors).
Since 2014, the pairing of physical modeling and modular syntheses have yielded listening presentations that hone in on the relationships between direct and reproduced sound, linking original and emulated sources.
Coppice’s productions include instrument construction and modification, electronics, software, photography and video.
In Chicago Coppice has presented work at the Lincoln Park Conservatory in partnership with Experimental Sound Studio, The Arts Club, Museum of Contemporary Art, Cultural Center, Goethe-Institut, Film Studies Center at the University of Chicago, New Capital and Kavi Gupta; at numerous venues and festivals nationally including Issue Project Room and Music with a View Festival (New York), The Society for the Activation of Social Space through Art and Sound (West Hollywood), New Media Art and Sound Summit (Austin), The McNeill Street Pumping Station New Music Festival (Shreveport), University of Minnesota (Minneapolis), and University of Michigan (Ann Arbor).
Coppice music is available from artist-run labels internationally: Agxivatein (GR), Aposiopèse (FR), caduc. (CA), Category of manifestation: (US), Close/Far (US), Consumer Waste (UK), Entr’acte (BE), Hideous Replica (UK), Quakebasket Records (US), Notice Recordings (US), Panospria (CA), Pilgrim Talk (US), Rhizome.s (FR), Senufo Editions (IT), Stasisfield (US), Triple Bath (GR), and Untitled Folder (RU).
Coppice has been awarded artist development resources in Chicago through the High Concept Laboratories Artist Sponsorship Program (2012), Experimental Sound Studio’s Artist Residency Program (2015), and Silent Funny residency (2016).
In 2017 Coppice received an Individual Artists Program Grant from the City of Chicago Department of Cultural Affairs & Special Events, as well as a grant from the Illinois Arts Council Agency, a state agency through federal funds provided by the National Endowment for the Arts.
Commissions include a durational multi-channel work developed in collaboration with interdisciplinary artist Mark Booth; a 4-channel sound installation Experimental Sound Studio’s Florasonic series at Lincoln Park Conservatory’s Fern Room, in partnership with the Chicago Park District (curated by Lou Mallozzi); a special performance with François and Bernard Baschet’s “Aluminum Piano” (1962) at the Museum of Contemporary Art Chicago (curated by MCA Marjorie Susman Curatorial Fellow Timothy Grundy); site-specific performances in response to the work on Jean-Luc Mylayne in partnership with Arts Club Chicago and the Art Institute of Chicago for the Millennium Park Lurie Garden; a collaborative performance with jazz reed player Mwata Bowden as part of the Kinosonik series, in partnership with Rebuild Foundation’s Black Cinema House, The Nightingale, Chicago Film Archives, and Experimental Sound Studio; and the scoring of a film by Melika Bass for Chicago Film Archives.
Lise McKean, “Thinks: Sound Artists Coppice Talk Visual,” Bat At Sports, May 2017.
Dan Mohr, “Singletrack: Coppice,” Chicago Artists Resource, August 2016.
Guillaume Belhomme. 10 Years a Grisli, a 2004-2014 retrospective. France: Semestriel. 2015. 256-257.
Stuart Tolley. Collector’s Edition. New York: Thames and Hudson. 2014. 195.
Byron Coley, “Size Matters,” The Wire, Issue 363. 2014.
Nick Storring, “Fellows With Bellows: Coppice Handcrafts Mysterious Sonic Sculptures,” Musicworks Magazine, Issue 120, Fall 2014. 44-47.
Meredith Kooi, “Suspended Radiophonic Breath Terrains,” Bad At Sports, July 2013.
Anjulie Rao, “Air on the Edges: Alumni duo Coppice breathes life into Chicago’s experimental sound scene,” The School of the Art Institute of Chicago’s Alumni Spotlight blog, 2013.
Bill Meyer, review, The Wire, Issue 358, December 2013, 48.
Richard Pinnell, review, The Wire, Issue 353. July 2013. 68-69.
Browse Coppice’s past performances here.
Read responses to Coppice here.
Contact us here.