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for contact: viagracia@gmail.com

My work explores how voices and bodies are shaped by the sounds and systems they live within. I am interested in how listening is trained—through music, sport, popular entertainment, and the ambient noise of everyday environments as highways, construction, and machinery. I examine basketball, karaoke, polyphonic singing, and infrastructural sound as interconnected training regimes that organize breath, timing, posture, and vocal production over time. Some of these systems discipline overtly, through accuracy and synchronization; others act slowly and invisibly, embedding themselves in the throat, the lungs, and the body’s endurance.

In response, I’m developing a practice I call diagrammatic listening. I produce visual diagrams (scores) after acts of sustained listening, performance, and/or embodied engagement; post-listening diagrams that trace strain, drift, density, breath, and breakdown without fixing pitch, meter, or form. I’m interested in the existing tension between my prescribed graphic scores for performance and the post diagrammatic drawing; these drawing/scores function as relational traces of embodied attention. These scores are invitations to listen again.

Recently, I’ve been influenced by Georgian polyphonic traditions—where tuning is relational and time unfolds through breath—my work explores ways that coordination can emerge without correction or mastery. I am interested in how environments shape bodies, and how new vocal practices and musical forms may arise from that pressure.

Ultimately, my work asks what it might mean to listen to music/sound not as instruction, but as a force that transforms us.

Bio

Grace is an artist and researcher working with sound, voice, performance, diagrammatic scores, and embodied archives. Her practice investigates how colonial infrastructures—sport, language, urban noise, and music pedagogy—shape the body, throat, and listening habits over time. Drawing from Filipino histories, karaoke culture, basketball, and environmental sound, her work proposes alternative modes of listening that resist pitch discipline, virtuosity, and assimilation. She is currently developing projects that treat the body as a living score shaped by colonial and ambient forces. Her current projects include mumulak; Interaural Space, a community installation turned WPRB radio broadcast on noise, migration, and oral history; ⎤⎤⎤ (Superpang & Notice Recordings); and collaborations with poet Andrew Riad and Drab. Her work has been presented with Morphine Records Berlin; Fridman Gallery NYC; the Black Mountain College Museum, NC; as community project with IONE + Pauline Oliveros Foundation, and in performances of works with Raven Chacon (For Zitkála-Šá & American Ledger #3), as well as live-video collaboration with Tyondai Braxton. Presentations of these works include Amant (NYC), Elbphilharmonie Kleiner Saal (Hamburg), The Broad / REDCAT (Los Angeles), Issue Project Room (NYC), ACT an MIT Media Lab (MA), and others.

Grace works with sound and oral history at Princeton University’s ViZe Lab (Anthropology), and is a 2024 Rema Hort Mann Community Arts Grant recipient, a 2025 Wide Rainbow Fellow, and an MFA graduate of Bard College in Music/Sound.

viagracia@gmail.com • @viagracia