In my work I seek to create environments that immerse the audience in a mesmerizing and evocative experience. To do this, I provide interactive opportunities for audiences to become participants in the co-creation of the work. Tension is added with the intersection of live, real time interactions, with time-transformed, prerecorded events. My hope is to create work with an emotional effect, and to induce a personal, internal narrative in the audience.
Composer, video maker, sound artist Daniel Konhauser has for several decades created works ranging from music for dance to multi-media theatre to interactive video and sound installations. His musical background has led to a diverse array of artistic collaborations and unique explorations of visual media, including the integration of video and 35mm slide projections with live movement.
Konhauser’s work has been presented in numerous venues in the U.S., including CounterPULSE and the Lab in San Francisco, Krowswork and the MilkBar in Oakland, and Joyce SoHo in New York City. His artistic collaborators have included choreographer Maxine Moerman, musician Dina Emerson, visual artist Cheri Ibes, and the London based band Paper Dollhouse. In 2008 presenter Joe Landini commissioned him to create a video and sound installation at The Garage in San Francisco, resulting in “Endless Landscape.” In addition, Konhauser’s dance video collaboration with Moerman, “Wander,” was selected for screening in The Performance/Mix festival in NYC in 2007. His interactive audio installation, “Public Phone Booth”, was selected for The Lab’s 25th Anniversary “PastForward” show. In 2010 Konhauser debuted his first public art piece, a storefront video and audio installation entitled, “The Late Late Show”. In 2013 Konhauser created an interactive “spaceship”, during a residency at The MilkBar in Oakland. In 2015 he collaborated with London-based Paper Dollhouse, on an interactive Gregorian chant.
Konhauser received his BFA in Film from the San Francisco Art Institute in 1984. With the encouragement of his mentors (including film artist Al Wong), he spent many hours experimenting with sound in the film department’s tiny four-track studio, culminating with his early signature composition, “Drizzle” (1983). After hearing “Drizzle” at one of her dancer’s salons, choreographer Maxine Moerman commissioned Konhauser to compose the score for “Tremor” (2004). He is currently experimenting with capacitive touch and gesture sensing interfaces.
dk (at) danielkonhauser.com