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Hi there SF Bay Area loopers I am playing two sets of Electrix Repeater enhanced cello, this Friday January 21st. The first set will be my usual brand of looped cello, the second will be a new work to accompany paintings by Yvette Molina. Yvette Molina is a painter I met on a plane last year. We got to talking about this and that and she showed me her portfolio. Wow! I was really moved and I found myself thinking about the images for weeks afterwards. I felt that she expressed something with her painting that I was trying to express in music. Just a simple, mist, shrouded silhouette of a trumpet vine seemed to whisper something about beauty, sorrow and fragility. I can't explain it in words without making it trite, I guess that's what art is for! I've included below a short description of her work from a recent gallery show. Jeff Rusch and Okeanos have converted 48 of her paintings to digital form and will project them on multiple screens while I play. The goal is to create an immersive environment of sight and sound. Thanks very much. Here are all the pertinent details about Friday: Zoe Keating: looped cello Yvette Molina: paintings Jeff Rusch and Okeanos: projectionists Friday, January 21st 964 Natoma (in SOMA btw 10th & 11th streets) doors at 8:30 music at 9:00 $5 to $10 suggested donation more about Yvette from a recent exhibition entitled "Unquiet Preserve": http://www.artnet.com/event/70156/Yvette_Molina_Unquiet_Preserve.html Yvette Molina brings together a series of meticulously rendered oil paintings that are both a celebration of nature and an invitation to consider its tenuous existence. For the artist, Unquiet Preserve ìrefers to both the act of choosing to document the beautiful elements in the natural world and the unsettling reality that paintings and photographs are quickly becoming the last preserve of nature...In the modern age, to gaze upon the beauty of nature is to bear a shadow of sorrow over its passing.î Inspired by traditional Chinese landscape painting, Molina's work comes from detailed observations and recordings of plants, vistas and sky experienced in her own backyard in Oakland, California. The artist isolates and removes her subjects from the urban elements she chooses not to memorialize and paints a single branch or hilly landscape in crisp silhouette over an indeterminate space. These are spaces for the imagination where glowing moths flit about along with seeds, pods and subtle graphic markings. The works are painted on aluminum panels which reflect light through twenty to thirty layers of paint, creating a deep luminosity. Molina's restrained, slate-like palette holds the work in a meditative, abstract domain where beauty is company to reflection on loss and possibility, regret and hope