I think about how voices and bodies are shaped by the sounds, systems, and environments they move through and live within. I see listening as a trained, embodied practice ~ formed somatically through repetition, pressure, and place over time. Drawing on basketball, karaoke, polyphonic singing, and infrastructural sound, a part of my method develops diagrammatic listening: post-listening visual traces of strain, drift, density, breath, and breakdown. Recently influenced by Georgian polyphonic traditions, my work listens to how coordination can emerge without correction or mastery, and how collaborative listening environments can tend to breath, noise, and silence as forms of care and collective attunement.

Bio

Grace is an interdisciplinary artist working with sound, performance, imagery, and embodied archives. Her practice tends to how infrastructures of language, urban noise, sport, and pedagogy shape how the body listens over time. Drawing from heritage: karaoke culture, basketball, and environmental sound, she is developing a research-based and experimental approach to listening: resisting pitch discipline, virtuosity, and assimilation. 

Current projects include mumulak; Interaural Space, a community installation turned WPRB radio broadcast on noise, migration, and oral history; ⎤⎤⎤ (Superpang & Notice Recordings); Her work has been presented with Morphine Records, Fridman Gallery, and Black Mountain College Museum, including community projects with IONE and the Pauline Oliveros Foundation. She's performed works by Raven Chacon and collaborated live-visuals with Tyondai Braxton. Presentations include Amant, Elbphilharmonie Kleiner Saal, Kiosk Radio, BXL, The Broad / REDCAT, Issue Project Room, among 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 holds an MFA from Bard College’s Milton Avery Graduate School of the Arts in Music/Sound.

‍ ‍@viagracia