Audra Wolowiec

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What is my artwork about?

I am an interdisciplinary artist, writer and collaborator whose work exists as sculptural installations, sound, printed media and performance. Materials include cast concrete, altered found texts and voice. Themes include silence, the tactility of language, and forms of absence. My work has been exhibited in non-profit galleries, project spaces and performance venues, as well as read at poetry readings, printed as posters and limited artist editions.

Artist Statement

My interdisciplinary work oscillates between sculpture, sound, text and performance. I work between mediums to explore marginal relationships between the tactile and immaterial. I’m interested in sound, often the absence of sound, underlying layers of speech, and fragments that are often created through processes of removal.

The work Concrete Sound is made of cast concrete forms based on geometric sound foam used in sound recording studios and anechoic chambers. Exhibited both on the wall as a tiled grid and on the floor as a weighted landscape, this sculptural installation actively refuses to absorb sound through a shift in materiality. These forms accumulate to create muted landscapes and resistant objects. This series began in 2011 in an exhibition at Norte Maar, a non-profit project space in Brooklyn, NY, that included a limited edition artist publication in collaboration with the poet, Christine Shan Shan Hou. The series continues to develop, in shape and process, and recently was exhibited as a large wall relief installation that spanned a 50ft wall at the Knockdown Center in Maspeth, Queens.

In Warm-up, a sound installation with speakers embedded in leaning beams is composed of three voices of actors and singers vocally warming up to perform. These often concealed vocal practices become the main event, looping and emanating in a changing chorus, creating a listening experience that is constantly in the process of becoming.

The subtle architectural intervention (h)ear, consists of my own ear cast in plaster and embedded into a gallery wall. An unexpected rupture in an otherwise smooth, white wall, viewers are reminded to listen. This piece is also inspired by painted miniatures of body parts created for and given to lovers.

The title Habitare, derived from the Latin meaning to inhabit or to hold, is a sound installation made of drywall columns for one person to listen at a time. Two breaths are heard, emanating from each speaker, in and out of synch, to create an intimate, highly charged space.

Many of the sound installations I create have a printed series that function as a form of notation or sound score. The works Less than words can say and Between the sea and the sea are both studies for vocal works that are in process.

The sound work I am interested in all contain elements of the voice, breath, and fragmented parts of speech. The three video clips with sound are explorations in underlying parts of speech, an attempt to locate the voice in the absence of language, a slippery form of communication that Roland Barthes has referred to as the grain of the voice, or what I like to think of as the thread of the voice—a tactile line that at once holds, separates, and connects.





2007 MFA, Sculpture, Rhode Island School of Design (honors)

2002 BFA, Fiber Studies, University of Michigan

Solo Exhibitions


Sæ, RAYGUN Projects, Toowoomba, Australia

Complex Systems, Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR


Sound + Text, Counterpath, Denver, CO


Concrete Sound, Norte Maar, Brooklyn, NY


Private Space in a Public Time, A/V Elevator Project, Art in General, New York, NY

Performances / Events


Ordinarily Unheard, (with David B. Smith and Sal Randolph), Calico, Brooklyn, NY

Audra Wolowiec and Maryam Parhizar, The Poetry Project, St. Marks Church, New York, NY


Sound Event, Socrates Sculpture Park, Queens, NY

Dream Time (collaboration with Jen DeNike, curated by Rachel Mason), Trans Pecos, Queens, NY

Weather Language, Arsenal Gallery, Central Park, NY

Detour (collaboration with Jeanann Dara), Reverse, Brooklyn, NY


Language Loops: a performance in the round, Carousel, Brooklyn, NY


The Broadmann Areas (collaboration with Margo Wolowiec and Julia Gleich), Center for

Performance Research, Brooklyn, NY

Group Exhibitions


Anxious Spaces: Installation as Catalyst, Knockdown Center, Queens, NY

Some False Moves, Present Company, Brooklyn, NY

Pretext, Studio 10, Brooklyn, NY

Physical Information, Defibrillator, Chicago, IL

Systematic Sampling, Stream, Brooklyn, NY


Of Landscape, Reverse, Brooklyn, NY

Art into Music, BRIC, Brooklyn, NY

Commerce: Labor, Proteus Gowanus, Brooklyn, NY


Exchange Café (curated by Caroline Woolard), MoMA Studio, New York, NY

Transmission, 3331 Arts Chiyoda, Tokyo, Japan

Liminal, Reverse, Brooklyn, NY


Words to be Seen and the Sound of Speech (curated by Maria Chavez), Reverse, Brooklyn, NY

Text, Studio 10, Brooklyn, NY

First Contact, Field Projects, New York, NY

Reveal/Hidden, Guest Spot, Baltimore, MD

The Object Ethnography Project, The Humanities Initiative, NYU, New York, NY


Experimental Notations, Royal Nonesuch Gallery, Oakland, CA

Eraser, Magnan-Metz, New York, NY

Superposition, Hypertopia Projects, Seattle, WA

Detroit: A Brooklyn Case Study (curated by Chloe Bass and Mitch McEwen), Pacific Design Center, LA, CA

Twice Removed: A Survey of Take Away Work (curated by Karly Wildenhaus), Golden Age, Chicago, IL


Sub Terrain, Work Gallery, University of Michigan, Ann Arbor, MI

Science Fair, Flux Factory, Long Island City, NY

Prizes / Awards


Clocktower Productions, Commission for Anxious Spaces at the Knockdown Center, NYC

Third Culture Public Art Commission, University of Oregon, LISB Science Center, Eugene, OR


Art in General, Commission for A/V Elevator Space

Residencies / Fellowships


Bemis Center for Contemporary Art, Omaha, NE

Complex Systems Art and Physics Residency at the Corwin Lab, University of Oregon, Eugene, OR

Mildred’s Lane, Attention Lab with The Order of the Third Bird, Narrowsburg, NY


Summer Lab, Reverse, Brooklyn, NY


The Wassaic Project, Wassaic, NY

chashama, New York, NY



Visiting Artist Lecture with Sal Randolph and ESTAR(SER), RMIT, Mebourne, Australia

Visiting Artist Lecture, University of Oregon, Eugene, OR


Visiting Artist Lecture, University of Nebraska, Omaha, NE

Visiting Critic, New Forms (Jean Shin, Ann Messner), Graduate MFA, Pratt Institute, NY

Third Culture Conversations, Art and Science Conference at the University of Oregon, Eugene, OR


Artist Lecture, Empty Words, Cage Transmitted Series, Dumbo Art Center, Brooklyn, NY



Esther Bourdages, La Nature en DIY, Etc Magazine, Montreal, July 26

Sandy Pottinger, Art opens new experiences, The Chronicle, Toowoomba, Australia, May 22

Conversations with Audra Wolowiec, Fell., Feb 8

Negative Exempla, La Vague Journal, Jan 7


24 Artists to Watch in 2015, Modern Painters, Dec 16

Charles Eppley, Public Art in the Sonic Realm, Hyperallergic, June 23

Look & Listen Festival, Artist Interview with Terrance McKnight, WQXR Q2 Radio, June 1

PennSound, Private Space in a Public Time, Audio Archive at the University of Pennsylvania, June 1

Paul D’Agostino, 4 Art Exhibits You Need To See, L Magazine, April 10

Tolly Wright, Hear that honk? It’s the music of the city, Time Out NY, March 28

Janet Uphadhye, Art Exhibit Asks Passersby to Stop and Hear the Music, DNA Info, March 27

Chloe Veltman, Audra Wolowiec’s “Sound & Text” at Counterpath, Colorado Public Radio, March 27

Bree Davies, Sound System, Westword, March 27

BRIC Installation Includes Takeaway Art Posters, Downtown Brooklyn Magazine, March 24

Enrico Gomez, Art into Music, WagMag, March 1


Between Language and Form, Word Object, Oct 12

The Artist Catalog: Volume 1, Winter Issue

Sunday Feature: CONCRETE SOUND, Gwarlingo, April 21


( ) and [ ] or we lean on the voices of others, word servents, Dec 12

Issue 13: Huffing and Puffing, textsound, July 1

Elana Mann, The People’s Microphony Songbook, July 1

Juliet Helmke, A Conversation with Artist of the Month Audra Wolowiec, BRIC Contemporary Art, June 19

Cara Ober, Information Interrupted, Urbanite Baltimore, June 5

Benjamin Sutton, New Ballet Explores Brain Maps Against Backdrop of Art, Blouin ArtInfo, April 13

Issue 6: Sound, Requited Journal, Jan 5

James Panero, Gallery Chronicle: “Concrete Sound” at Norte Maar, The New Criterion, Jan 1


Issue 38: Futures, Thresholds Magazine, MIT Department of Architecture, Winter/Spring

Vince Contarino, Audra Wolowiec at Norte Maar, KCLOG, Dec 8

Thomas Micchelli, In the Use of Others for the Change, Brooklyn Rail, May 1

Hrag Vartanian, Julia K Gleich on Bushwick’s New Collaborative Ballet, Hyperallergic, April 15

Katarina Hybenova, Sound and Space of Audra Wolowiec, Bushwick Daily, April 5


Daniel Wentworth, The Fine Art Adoption Network, New York Foundation for the Arts, Dec 1

Brad Sanders, ‘Sub Terrain’ explores states of being at Work Gallery, The Michigan Daily, Sept 2

Eliza Strickland, When Artist’s Take Over the Science Fair, Discover Magazine Online, June 11