blake marques carrington

BIO:
Blake Marques Carrington works within the spheres of the sound, visual and performing arts, guided by a conceptual inquiry of “speculative forensics”. He was awarded a Fulbright U.S. Scholar Award for 2025 to explore “transdisciplinary practices in art and technology” with hosts at the University of São Paulo in Brazil. A transdisciplinary current runs through all of his work, with special interest in how tools are incorporated into the human sensorium to form expanded realities. His work is realized largely as audiovisual installations, performances, album releases, and inkjet paintings. Previously he has also received a Jerome Foundation Travel Study Grant to research media arts in Japan, a NYFA Fellowship in Electronic Arts, and a NYSCA Distribution Grant. He has had four solo exhibitions in the U.S., and has released 6 solo music albums, including ones released by the LA-based label Dragons Eye Recordings and Radio del Museo Reina Sofia in Madrid. Working collaboratively, he has created and performed concert visuals with Patti Smith and Soundwalk Collective, and co-founded a platform for contemporary video art projections in public spaces called Urban Video Project that featured the work of Trevor Paglen, Jill Magid, and Miranda Lichtenstein. Blake lives and works in Brooklyn, where he coordinates the Art+Technology program in the Digital Arts Department at Pratt Institute.

STATEMENT:
The conceptual inquiry I call “speculative forensics” guides my work, a process of encoding and decoding physical and digital realities. I explore the tension between a materialist worldview – one informed by scientific realism and the existence of a mind-independent reality – and a postmodern worldview – one informed by “social construction”, semiotics and the network of signs and symbols that constitutes our intersubjective environment. This process of encoding and decoding cashes out in a practice of experimentation with tools. Through writing code and utilizing new technologies, I produce interactive installations, audiovisual compositions and performances, album releases, inkjet paintings, and single-channel videos. Though trained as a visual artist, the flexible material that is digital media led me to a practice highly focused on sound as well. In general, I treat the materials of my work – not just sound and image but also data, architecture, and space – as formal objects of translation. They are all proportional elements in an equation, like energy and mass, flowing into each other. Soundscape pioneer R. Murray Schafer said “all visual projections of sounds are arbitrary and fictitious”. I extend this idea to all materials and embrace the fiction of these projections. The ultimate goal of my work is to discover a fiction that resonates more profoundly than our everyday perception of the world.