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15 | 16 | 17

Luther Frank | Light Artist

Dara Swisher | Choreographer

Whitney George | Composer


Performed by 


Alice Jones |  Flute

Mara Mayer | Clarinet

Adam von Housen | Violin

Mark Serkin | ‘Cello

Markus Kaitila | Piano

Tamika Gorski  | Percussion

Whitney George | Conductor


with guests 

Dara Swisher | Physical Artist

Brittany Motkowicz | Lighting Assistant

Kent Sprague | Lighting Assistant 

Chris Pace | Audio Engineer

Sierra Miliziano | Producer

Miriam Rochford | Stage Manager

Bea Goodwin | Assistant Stage Manager


Kaylan George | Graphic Designer

Released on | Pinch Records 


CHASING LIGHT is a performance art installation and exhibition of movement, light, and live music. The work traverses 16 unique environments in a non-linear, non-narrative, immersive space. Written for a chamber ensemble of six players, and inspired by photography, the collection contemplates the human experience of light phenomena through sound and experiential space.


Concepts ranging from organic and otherworldly bioluminescence, to the simple yet romantic silhouette are individually examined in vivid detail using both atmospherics and the human body as a canvas. This 95-minute experience is staged to fully immerse audience members in each illuminated environment, drawing the viewer into a liminal space of non-traditional light sources and dancing vibrancy.


Whitney George began composing CHASING LIGHT for members of The Curiosity Cabinet in 2015. Seven years later in 2022, she completed the score and has since workshopped it at Pinch Recording Studios, where she is an artist in residence. The performance coincides with the digital release of the album in full by Pinch Records, and selections of the album pressed to vinyl, which will be available for purchase at the event.




I. Abandoned Places

II. Under the Railway

III. Silhouette

IV. Shadow Play



IX. Snowdrift

X. Headlights in the Fog

XI. Neon Noir

XII. Aurora Polaris



V. Daybreak
VI. Lanterns
VII. Bioluminescence

VIII. Prism



XIII. Caustics

XIV. Fireflies

XV. From Above the Clouds

XVI. Among the Stars

Whitney George - Headshot.jpg

Linear, narrative plots are not accessible to all audiences, and while the vast majority of my work involves coloring my music with plot points and storyline visuals or textual elements, I wanted to create something that left the narrative element for the audience to design due to the abstract nature of the work itself. In a way, it is a work in which you choose your own adventure. 


Who are the characters of your story?

Where do they find themselves set in time?

Is there a fight of good versus evil?

And where do they  find your place in the sun?


We’re always trying to create a cohesive whole out of disparate parts, and CHASING LIGHT asks the audience to do just that. Whatever narrative exists is only because you created it, and as a result, the work will mean something different to everyone. As the duration of the work spans 95 minutes, there’s an element of size and scale at play—you should feel as though you’ve traveled somewhere and that perhaps whatever you are is only a small piece of a much larger picture and that the internal workings that are required to make even the most simple of things happen are truly fascinating—


—and what a truly astounding place

[and time] we live in.

The work was also born out of a desire to experience something I've yet to experience, but yearned for in a theatrical environment.Watching films like Fantasia growing up, I wondered what it would feel like if the waves we saw on screen also felt cold or wet or if they smelled like salt, would the music sound different? Seeing a budding interest in installation works of light has been exciting, but upon visiting them myself, I’ve felt underwhelmed by the sonic environment. CHASING LIGHT is the multi-sensory experience I often imagine when listening to music, willed to life with collaborators for an audience

The harmonic and musical vocabularies used in the work are difficult to describe—and composers often shy away at the responsibility of doing so. The specific environments I was trying to sonically recreate necessitated a variety of techniques to be effective. In selections like Abandoned Places, the selection has structured improvisation, time-based/proportional notation, and extended techniques to help create the haze and dirt we often associate with spaces left unattended and abandoned. In juxtaposition, movements like Prism focus on rhythmic transformation of small ideas to create confusion in the main subject you are to try and follow. 


—and yet, the music is certainly of one world, and one that I have curated especially for you. Larger themes connect the work across its multiple sections, hopefully giving you the feeling of deja vu. And some feeling of history repeating itself.




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