M.F.A. Milton Avery School of the Arts at Bard
Dale Edwin Sherrard (American, 1961) is an experimental composer, audio designer and multimedia artist who maintains that the remix is infinite. His work appears in many formats, including scores for modern choreography, film scores, sound design for installation, sonic sculpture and space tuning, poetic engineering, experimental playback, turntable process and live performance.
His work is centered primarily around the concept of text and language as a sonic palette and follows the cut-up and tape modification traditions of William S. Burroughs Ken Nordine and Charles Dodge, with a decidedly large nod to the philosophies of John Cage. He publishes and performs under the moniker "HOMELITE GRAVELY."
He has recently worked with Italian sculptor and animator Luca Buvoli on “A VERY BEAUTIFUL DAY AFTER TOMORROW (UN BELLISSIMO DOPODOMANI)” which premiered at the Venice Beinalle in 2007 and "Ave Machina" as sound designer and co-composer that premiered at The Mattress Factory in Pittsburg PA, and was shown at New York's MOMA in January 2009. His dance scores with choreographer Ani Weinstein premiered at the Dance Theater Workshop (2006) in New York and continue to be performed nationally. He collaborated in 2006 on the soundtrack to the Ken Burns Award-winning short film "Foggy Mountains Breakdown More Than Non-Foggy Mountains" by filmmaker Jessie Stead and provided sound design for Tony Torn's film "The Grand Inquisitor" in 2006. His highly cynical series of short films entitled "A Word From Missoula, Montana" can be found online.
Several of his compositions have appeared recently in the online audio magazine "Textsound" (www.textsound.org), and premiered on Seattle's KCBS experimental radio program "Flotation Device." His most recent performance was "The Panictown Cartography" (December 2008), a multimedia micro-opera at the Brunswick Artist Studios. After 25 years in New York, Sherrard now lives alternately in both Missoula, Montana, and Seattle, Washington.