Quantum Pfiz

Light Performances. Making Waves
Before light Pfau would painted on large canvas behind his long time friends Eric Johnson and Derek Brambles of The Kings English and Ryan Clark and Justin and Ryan Levine of No Country.

Beginning as the solo projection artist Quantum Pfiz at a New Years party in 2009. Pfau used a camera and LCD monitor to create a digital overhead and feedback system where volumous gesturally interjections could be introduced into the digital video performance.
This project has seen installations and performances. Contemporary Liquid light show and projections.
Intricate signal recombination through various analog and digital filters paths and patches.
Pairing of a painterly practice with physical curiosity and oculo-reactionary editing of digital matrices that weaves the computational logics of microprocessor with the pervasive and concrete coloumb relationships of physicality.
The gigahertz as a timebase is filtered by chemistry and modulated by the metronome of live performance.
The rigs themselves are modular sculptural instruments, allowing for flexible recombination around the light path adjusting to the performances scale and sensibility.

In 2010 Pfau became the new “fledgling” in the penultimate Los Angeles based liquid light show from the the 60’s onward the Single Wing Turquoise Bird.
Playing in the slide department on one of the four SWTB “Fritz” stereo-stroboscopic slides unit engineered by the late Stan Goldstein, alongside photographer Larry Janss and Jeffery Perkins. Michael Scroggings, .. Amy Halpern, Peter Mays, and David LeBrun.
Performance for the Getty West of center show. The drive was to preserve the quality of light that accompanied the analog productions and semantics associated to the imagery remapped to contemporary spaces and environments, real and virtual. “It’s difficult to describe
the magic of an analog light show in any medium other than experiential immersion, you can’t expect to communicate the experience, through any capture method other
than your head. It becomes an impromptu improvisational feature, where the participants, soundscape, and light all push and pull a fabric of phenomenological connectivity.” – Pfau

Through out 2011 Pfau put together the first mobile rig on two metro shelves, and played a number of show organized by Graham Ginsburg’s much needed Chronology Presents live music event series.
Under the name of Technicolor Zebra Pfau worked alongside Codensity partners Adam Laiben, Prokor Pruygunof, and Alec Kaplan doing visuals for local bands.

In 2012 Pfau moved to San Francisco to work for a camera company. Atop a foundation self taught bio-medical and chemical interest Pfau set out to investigate and reconstruct his personal light rig, providing the fluidity and nimble narrative voice of sonic instruments to the strict nature of the electro-magnetic spectrum. The overhaul revolved around the
concept of flexible and mature light table optics, expanded coordinate geometries, living systems, decentralized data and sensing arrays, optical recognition, and the searching for bridges between the asymptotes of visual resolutions.” These revisions were played, brainstormed, and further refined at his longtime friends Jordan Miller and Caroline Emerson’s live/work warehouse the “Tikihut” in the Dogpatch district of San Francisco.

In 2014 after two years of focused design and constant recombinant investigations into various engineering disciplines, aesthetic lingerings, historical context, and hard sciences, the QuantumPfiz light show codenamed
Revision 10, is in a state of performability and collaborative inclusion.

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