(∼)Echo | phase one | presents a trio of suspended bronze sculptures cast from surface impressions inside a dry riverbed — the hollows of rocks, tree bark, ripples in the sand, and the knot of a tree — producing positive forms from negative spaces shaped by absence and time. Paired with mirrored geometric planes, suspended wire, and integrated lighting, the works cast shifting fields of reflected light and shadow that become integral to the sculptural forms.

Each sculpture exists as a visual object, a percussive instrument, and the source for Gus Tomizuka's Quintet for Samples of Bronze Sculptures. Drawn from recordings of the sculptures, Tomizuka's composition processes each object into discrete, elastic waveforms interpreted through an evolving algorithmic score, a computer processor acting as conductor to a synthetic choir.

Together with mirrors, suspended wire, and light, the works become an environment for live performance. During the performance, Bollinger plays the sculptures, suspension wires, and handheld chimes as percussive instruments alongside Gus Tomizuka and Dimitri Manos on acoustic instruments. Working from Tomizuka's evolving algorithmic score, the performers improvise with live and processed sound as the suspended sculptures sway and reflected light and shadow drift through the gallery.

(∼)Echo( ) unfolds in two distinct phases, each developed through a different collaboration: opening with composer Gus Tomizuka (∼) and concluding with artist and musician Patricio Coronado ( ). Together, these collaborations extend Bollinger's work with iteration, translation, transmission, and sound.

Organized by Alexis Wilkinson, Curator. Image credits: MOCA Tucson, 2025, photography by Julius Schlosburg; performance photograph courtesy of Andy Burgess.