"If this year's Time-Based Art Festival (TBA) had a goal, it might've been to twist our perceptions of the everyday. Angelo Scott's Omni Rail turned the Pacific Northwest College of Art (PNCA) into an echoing instrument; Freddie Robins' Apotropaic elevated cardboard and wool into high-concept reflections on folk ritual. San Cha's Inebria me made religious fervor sexy and queer. Tahni Holt and Emma Lutz-Higgins danced to synth-pop with boulders in ."
"A sonic performance led by PNCA student Angelo Scott, Omni Rail opened TBA with a shriek and a rattle. Six musicians armed with mallets and metal chains dragged their tools over railings and across stairwell steps, sending a mix of shrill and delicate tones vibrating across three floors. Commonplace objects gave rise to a totally original soundscape, and Scott's electronic drones filled the more hollow intervals. On the ground floor, choreographer Muffie Delgado Connelly directed a dance ensemble's responsive movement."
The Time-Based Art Festival celebrated its 30th anniversary with unpredictable, interdisciplinary performances that transformed familiar materials and spaces. Angelo Scott's Omni Rail converted a college stairwell into an echoing percussive instrument with mallets, chains, and electronic drones, integrating dancers into a layered, improvisational soundscape. Freddie Robins' Apotropaic turned cardboard and wool into ritual-inflected textiles that invited tactile engagement. San Cha's Inebria me reframed religious fervor through queer and sensual lenses. Tahni Holt and Emma Lutz-Higgins combined synth-pop choreography with massive boulders, merging physicality and pop rhythms while the festival retained a bold, inventive spirit.
Read at Portland Mercury
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