Charles Lindsay is a multi-disciplinary artist interested in technology, eco-systems, semiotics, and esoteric forms of humor. He creates immersive environments, sound installations, sculptures built from salvaged aerospace and bio-tech equipment, photographs and videos. The FIELD STATION, a hybrid installation encapsulating many new works, is on view at MASS MoCA through early 2017.
Educated as an exploration geologist Lindsay is the SETI Institute’s AIR Program Director, a Guggenheim Fellow, recipient of the Robert Rauschenberg Residency, Fellow at the Nevada Museum of Art Center for Art and Environment, and the innovator behind OSA EARS - a project designed to deliver real time high resolution sound and data from one of the world’s most bio-diverse eco-systems to anyone anywhere with internet.
At the SETI Institute Lindsay worked with astrophysicist Laurance Doyle, who employed information theory and algorithms to prove that humpback whale communications exhibit syntax. “CODE Humpback” references this research through sculptural audio / visual works, utilizing morse code to merge ideas about encrypted signals and inter-species communications.
Lindsay received a Guggenheim Fellowship (2010) for “CARBON” - a hybrid process synthesizing photography and drawing. “CARBON” harnesses the language of high resolution scientific imaging to render ambiguous the micro and the vast, the organic and the digital, the real and the alien. CARBON is presented as photographs, and as large scale moving visuals which are altered through sensor feedback and modulation to create subtly responsive situations where the viewer becomes aware the art knows it is being watched. “CARBON IV” was shown at the LED LAB NYC (2014.) The CARBON monograph was published by Minor Matters Books (2016) with forwards by Lyle Rexer and Dr. Jill Tarter.
Many new works coalesce within the FIELD STATION's modular architecture. Also in process are "Mining the Moon," and “the Sound of a Quantum Computer Thinking” from recordings made at NASA Ames Quantum Artificial Intelligence Lab. “Ecotone” envisions a mobile space in which to de-contextualise live sounds from OSA EARS so they are experienced as though in an off earth / post earth environment. "Recipes for the Mind" is a book of drawings and writing which is nearing completion, assuming the artist's clone proves viable. The "FIELD STATION" book is also in the works. Lindsay is also collaborating with Human Condition Labs to help develop their Artists in Research program.
Recent lectures: "Anthropocentric?" for RISD's Department of Digital + Media, “Setting Out" at ApexArt and "Destination Unknown: Aliens, Art and Consensual Reality” at Rhodes House, for the 2014 class of Rhodes’ Scholars, and ‘Conversations on Media Culture and Practice’ at CalArts Center for Integrated Media. Lindsay has presented at Moogfest, the California Academy of Sciences, Stanford’s Department of Art and Art History, 100 Year Starship Symposium (DARPA), USC’s “Visions + Voices” performance series, Ear to the Earth, SwissNex, the American Museum of Natural History, Mountain Film, The School of Visual Arts, Pratt School of Art and Design, the Open Center NYC, IDEA CITY, and at The Hat Creek Observatory for SETI.
The author of seven books of photographs, Lindsay has published with Aperture, Little Brown, Minor Matters and Chelsea Green. His work has appeared in numerous international magazines including the New York Times Magazine, Blind Spot, Aperture, Natural History, Gastronomica, Audubon, Parabola, Orion, and GEO. He’s also worked with many of Japan’s leading publications. Lindsay’s work has been profiled by WIRED, Motherboard, ARTonAIR.org, Viralnet, NPR and CNN International.
Lindsay is passionate about sound. He conceived three live music shows, for which he played six string electric cello, electronics and combinations of voice, continuum, processed field recordings, modular synth and electric guitar - not simultaneously !! All utilized projected visuals, with improvisational music developed through collaboration. The Electrosense of Paddlefish was made in response to water issues in the American west. It was created and performed with David Rothenberg for Ear to the Earth at the Frederick Lowe Theater (2010.) Trout Fishing in Space imagines an off Earth habitation. Collaborators included Billy Gomberg, Thenmozhi Soundararajan, Dan Snazelle and David Rothenberg. It was performed in Woodstock at CPW (2012.) NEAR(ER) imagines alternate modes of consciousness and involved video artist Chen Serfaty. NEAR(ER) was performed at USC's Rhythms + Voices performance series (2013.)