A multi-disciplinary work developed from the music of Dirk Johan Stromberg and Video of Clare Chong. The work includes a close choreography of movement, light music, images, and theatre.  

Images of Ascension is a multidimensional work that seamlessly weaves music, video, dance, and theater into a rich tapestry of sensory and conceptual exploration. The collaboration between composer and hyper-instrumentalist Dirk Stromberg and video artist Clare Chong is a result of iterative creation and interdisciplinary dialogue. At its heart, the work is an exploration of cyclical themes of the metamorphosis of birth, life, death, and rebirth—examined through layers of sound, surreal visuals, and movement. Its narrative is not prescriptive but suggestive, inviting audiences to engage with its metaphorical ascent both emotionally and intellectually.

The work’s genesis lies in a conversation between Stromberg and ethnomusicologist Robert Reigle in 2016. Reigle’s observation about the rarity of truly ascending musical structures across his decades of research (as exemplified by Schenkerian Analysis) planted the seed for the project. Stromberg, already experimenting with these ideas in his earlier work :time:space:Rising Tones (2014), used this as an opportunity to delve deeper. The concept of ascension became the foundation of a musical language—an expansive vocabulary developed through improvisation and composition on the Phallophone, a custom-built instrument.

The Phallophone, described as a hybrid between an acoustic instrument, analog synthesizer, and electroacoustic creation tool, played a central role in shaping the work’s sonic identity. Its exaggerated physical form—a cross between a lightsaber and a car muffler—and its expansive sonic palette gave it a unique voice, not only as an instrument but as a character within the narrative. Hyper-instrumentalism, an extension of Noah Creshevsky’s hyperrealism, guided Stromberg’s approach, using the Phallophone to transform everyday sonic gestures into hyper-expressive statements. Later, the Fryprone, with its dynamic capacitive touch sensors and accelerometers, demonstrated the versatility of Stromberg’s instrument-making philosophy, further diversifying the work’s sound world.

As the project evolved, Chong’s visual contributions transformed Images of Ascension from a purely sonic exploration into a multimedia experience. Her psychedelic, kaleidoscopic videos introduced surreal imagery that reflected and extended the emotional arc of the music. Themes of light and transformation emerged in striking visual sequences—the birth of a dancer from the pinhole of light, the constriction of the body in cling wrap into a cacoon, and the metaphorical rebirth at the conclusion. These visuals, while not explicitly ascending in their design, became physical manifestations of the sonic world, amplifying the overarching themes.

The collaborative process between Stromberg and Chong was iterative and dynamic, characterized by a cycle of “music to film to music to film.” This exchange allowed each medium to evolve in dialogue with the other, creating a layered and cohesive narrative. The choreography, introduced in later stages, added another dimension. The dancer became the narrator, pushing the story forward through movement that echoed the work’s themes of ascension and transformation. Dance was not merely an element but a vital “instrument,” responding to and propelling the interplay between sound and image.

Adaptability has been a hallmark of Images of Ascension. Each performance has been shaped by its context, showcasing the work’s ability to respond to different spaces, audiences, and technological setups. In its initial performance in an art space in Ho Chi Minh City, the video was triggered live, allowing for dynamic interaction between Stromberg’s music and Chong’s visuals. A subsequent performance in Wales adopted a more structured, score-like approach, while a series of shows at the ArtScience Museum in Singapore introduced multiple projections, interactive video elements, and an additional musician, Qush Abdule. A telematic iteration further expanded the work’s reach, integrating live camera feeds and remote collaboration into the performance. Each staging not only redefined the work but also contributed to its iterative growth, reinforcing Stromberg’s artistic philosophy of embracing impermanence and situational responsiveness.

Thematically, the work reflects a psychedelic aesthetic, not through sensory overload but through its surreal imagery, vibrant colors, and imaginative interplay of mediums. This aesthetic invites audiences into a dreamlike state, where the boundaries between reality and abstraction blur. The music, deeply influenced by jazz, electronic music, ambient textures, and improvisational structures, responds fluidly to this visual language, creating an immersive environment. The concept of ascension transcends pitch, extending into the emotional and narrative arcs of the performance, as well as the visual metaphors of Chong’s videos.

While Images of Ascension is a vehicle for performance, collaboration, and experimentation, it also serves as a microcosm of Stromberg’s broader artistic practice. His philosophy of hyper-instrumentalism—a hyperrealist approach to instrument-making and performance—finds a profound expression here, as does his commitment to iterative creation and the integration of mediums. The work’s adaptability mirrors his belief in the importance of context, allowing each performance to respond to its environment and collaborators.In its ongoing evolution, Images of Ascension continues to challenge and expand the possibilities of interdisciplinary performance. It is a work that grows with each iteration, inviting new interpretations and revealing new dimensions. Through its innovative use of sound, image, and movement, it offers audiences a meditative, transformative experience that resonates deeply with the themes of cyclical transformation it seeks to explore.

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