Jules Gimbrone

I create fragile corporeal sound and sculptural ensembles that highlight the differentiations between modes of perceptual acquisition—specifically visual and sonic—within complex and precarious arrangements of subjects and objects. Combining sound and objects into immersive aural and haptic environments, I re-engineer sites of past and current performances with audio transduction equipment, producing installations that transform the sounds of performance into a physical and material experience.For me, the temporal and indeterminate properties of sound is more methodology than medium and can take on forms ranging from sculpture, recordings, performances, installations, and scores.

Using a variety of recording and amplifying technologies—in addition to materials such as glass, clay, ice,  and the processes of decomposition—I investigate how sound travels through space, bodies, and language as a way of exploring hidden or sublimated gendered systems. Concerned with the tension between conceptual power systems and their inevitable demise, the container and the contained, the visual and the sonic, my work exposes multiple queerings of the performative and pre-formative body.

I arrange translucent, bisected, reflective, liquid, and entropic material into ensembles like a resonating stage or a duet between glass vessels. Each object is studded with transducers that convert audio recordings of the material into vibrations directed back into their sources. The transduction of sound in turn transduces the function of the surface material. Rather than demarcating the boundaries of autonomous objects, they indicate relationships that are pervious, manifold, and in flux. Visually and audibly affected by the sonic transfer, the ensembles become listening bodies that rattle, shatter, ripple, bloom, and evaporate. My  process is like gardening. Probing surfaces like a topographer, I cultivate some resonances and maintain some visual definitions. Other elements are left to slowly rot or ripen. The resultant musical composition is thus a catalyst for material decomposition through which each ensemble performs itself anew. And as with the formation of subjectivity, natural processes and cultural techniques overlap in ways both harmonious and discordant. Overtones cause a shard of glass to dance skittishly on the salty surface of Thin Spread of a Specific Edge (2018) . The small piece of performing glass was once lodged deep in my leg when I five. It went undetected by X-ray machines until it rose to the skin one year later. Broken and preserved, sharp and harmless, of the body yet foreign to it, its solo act demonstrates both the physical intensity and fundamental permeability of corporeal parameters. In another piece shown here, False Binary Call and Response (2018), the pronunciations “Oh,” “Owe,” and “Ow” resonate from vessels flanking a two-way mirror i. While the twin images of the vessels, are redoubled, nested, and concealed, their sound waves pass inward and emanate outward, speaking interjections of indebtedness.

In my Collapse Score series, collapsing the score implies that the duration of a composition has imploded. Indeed, the only indication of time in these wall pieces comes from the gradual decomposition of organic material. In one score, blood, urine, and grapefruit peels color a swath of horse hair from a violin bow. The elements, also including colored pigment, are sandwiched between sheets of glass, representing the interplay of surfaces and opacities that is central to my musical philosophy. Like the Invisible Objects recording series in which I try to evoke a physical object through listening to the recording and understanding the recording methods being employed, Collapse Scores tries to evoke imagined music and sonic material contained within a seemingly static object. The performance may have already happened in the gesture of imprinted in the score or may have the potential to unravel in a future, imagined, space.


2014      California Institute of the Arts, Valencia, CA, M.F.A. Music Composition and Interdisciplinary Media

2012      Brooklyn College, Brooklyn, NY, M.F.A. Performance and Interactive Media Arts  (1 year completed)

2004      Smith College, Northampton, MA, B.A. Sociology and Studio Art



2018     Take Care, Gas Gallery, Los Angeles, CA

Surface (Oh, Owe, Ow), Stellar Projects, New York, NY

Four Simultaneous Soloists, Pioneer Works, Brooklyn, NY

Dysmorphias, Draw A Line, Another Echo – In Practice, SculptureCenter, Queens, NY

Peel, Part 1, Queering Space, Fosdick-Nelson Gallery, Alfred University, Alfred, NY


2017     Language Until It Doesn’t, The World Is Sound, The Rubin Museum, New York, NY


2016     Monomorphic Surfaces (or What I Listen For When I Listen In Men’s Bathrooms), LA, CA

Pressures, City Limits Gallery, Oakland, CA

Proximities, Material Art Fair, Mexico City, Mx


2015     Traps And Transmutations, The Social Register, Park View Gallery, Los Angeles, CA

Trio, Gulp, Boris R., 2601-2603 Studios,  Los Angeles, CA

There Is No There There, Threshing Floors, Cuchifritos Gallery, New York, NY

Rooms Junk And Other Forces, Théâtre De L’usine, Geneva, Switzerland,


2014      Ape Cave Stratum Feeding, Old Zoo Food, La><art, Griffith Park Old Zoo, Los Angeles, CA

Taking Up Space, Cover, Junk, Strike, Flax Fahrenheit, Los Angeles, CA

Spooky Action / Flesh Wedge, The Third Ear, Fellows Of Contemporary Art, Los Angeles, CA

In My Absence, All Sound Is Queer, Bowerbird, Philadelphia, PA

Sick Building, A404, Calarts, Valencia, CA

Piss Pot, The New Century Players Ensemble, Calarts, Valencia, CA

Gloc Infinite Loop, Bomb Magazine Benefit, Issue Project Room, Brooklyn, NY


2013      Outer Edges, Vox Populi, Aux Performance Space, Philadelphia, PA

This Body Is Not That Solid, Black & White Theater, Calarts, Valencia, CA

Sympathetic Release, Human Resources La, Los Angeles, CA

A Thin Wall Sympathetically Maintained, Human Resources La, Los Angeles, CA

Blubber Humm, Black & White Theater, Calarts, Valencia, CA

Diagonal Throws, Rod Hall Calarts, Valencia, CA


2012      Pastor Pasture, Emerging Artist Commission, Issue Project Room, Brooklyn, NY

Wrest Album Release And Video Screening, Spectrum, Brooklyn, NY

Evening, 3ld Art & Technology Center, New York, NY

Round, Bodega Gallery, Judas In Breath, Curated By Jen Rosenblit, Philadelphia, Pa


2011      Of A Structure, Whitman Theater, Brooklyn, NY

Wrest, Sound Of Arts Festival, Queens, NY

Geo, Jen & Jules, Curated By Randy Magazine, Moma -­‐ Ps1, Queens, NY

Crude Imitation, Socrates Sculpture Park, Brooklyn, NY


2010      Wrest, The Performance Project, University Settlement, New York, NY


2009      Aria Orion, Galapagos Art Space, Brooklyn, NY

Let The Sharp Stone Fly, Monkeytown, Brooklyn, NY



2018      “Invisible Objects” – Regenerative Feedback, ISSUE Project Room

2017      “Unnatural  Acts  Between  Consenting  Adults” – Legacies of Pauline Oliveros, Brooklyn College

2015      “Queer Sound”- AVANT: Psychoacoustics Session I, ALLGOLD, MoMA PS1

2012      “Using our Bodies : Performativity, Collaboration and Interactivity” The Symposium on Electroacoustic

Music Performance – Brooklyn College



2017      “A Room without Walls: Experimental Music and Queer Space”, Ear | Wave |Event – Issue Three,

Summer 2017, earwaveevent.org

2016      “The Privileging and Negation of Bodies of Sound”, Native Strategies, Music Issues #5



2018      Tepper, Allie, “In Practice : Another Echo”, SculptureCenter, April 2018

2017      Lee, Risha, “Listening and Liberation : The Word is Sound”, Spiral Magazine, June 2017

2015      Halajian, Suzy, “On Getting It”, Bomb Magazine, March 2015

2014      Darling, Nikki, “This Body is Not That: Sonic Frontiers with Jules Gimbrone”, KCET ARTBOUND

Perel, Marissa, “Jules Gimbrone by Marissa Perel”, Bomb Magazine, January 2014

2012      Jen Rosenblit & Jules Gimbrone, “Interview”, ISSUE PROJECT ROOM Newsletter, May 2012

2011      Burns, A.K., “Jules Gimbrone & Geo Wyeth”, Randy Magazine, June 2011

2010      Domeneck, Ricardo, “Jules Gimbrone/ ARIA ORION”, Hilda Magazine, June 2010



2016      Everybody! Come Stand on the Altar!, PSSST, Los Angeles, CA

2014      N {enter} S, Native Strategies, Los Angeles Contemporary Exhibitions, Los Angeles, CA

2013      Fault Lines, PACK Projects, Human Resources, Los Angeles, CA



2018     In Practice – SculptureCenter, NY

Foundation for Contemporary Arts – Emergency Grant

2015     Foundation for Contemporary Arts – Emergency Grant

2013     Point Foundation Scholar Semifinalist – The Point Foundation, USA

Interdisciplinary Grant – California Institute of the Arts, Valencia, CA

Music School Grant – California Institute of the Arts, Valencia, CA

Diversity Grant – California Institute of the Arts, Valencia, CA

2012      Point Foundation Scholar Semifinalist – The Point Foundation, USA

Emerging Artist Commission– with Jen Rosenblit – ISSUE Project Room, Brooklyn, NY

2010      DCA Regrant Recipient – Brooklyn Arts Council, Brooklyn, NY

2009     Special Projects Grant –with Elliot Montague – The Princess Grace Foundation, USA

2008      Paul Robeson Fund for Independent Media Grant – Funding Exchange, USA