Olivier Pasquet is a composer, music producer and visual artist. His work is based on the writing of audio visual compositions and synesthesia. His generative pieces, both minimalistic and maximalistic, are contextualized within a rationalist theory-fiction universe. His compositions are sound-based, visual, and material. Pasquet will use his Fall-Spring CAI residency to create an interactive sound and light sculpture for the Eleanor and Wilson Greatbatch Pavilion of Frank Lloyd Wright's Martin House Complex.
Olivier Pasquet first practiced music writing on his own. After composition studies at APU in Cambridge with Richard Hoadley, lectures with Trevor Wishart and Iannis Xenakis, he worked in several popular music studios including a short visit at INA-GRM. He then refocussed his work toward staged, contemporary music and media art.
Pasquet confronts his sound works with reality thru performance art: dance, opera, music, and contemporary theatre. His pieces also materialize themselves under the form of plastic installations and purely electronic music pieces. They are played, sometimes danced, in concert halls, galleries or clubs. For instance, Olivier Pasquet taught interactive arts and computational design at l’Ecole Nationale des Arts Décoratifs from 2006 and 2009, and taught theater-music at Théâtre National de Strasbourg between 2007 and 2008 etc. He has received several grants and residencies such as Villa Médicis hors-les-murs, two residencies at Tokyo Wonder Site, Arcadi, residencies both in Chili and Taiwan. Between 2009 and 2012, he was an invited researcher at Tokyo University with Philippe Codognet, Keio, and Buffalo with David Felder. Since 2013, he is doing a special research in musical composition and non-standard architecture at the Huddersfield University with Pierre Alexandre Tremblay.
Designed by architect Toshiko Mori to serve as the visitor center for Frank Lloyd Wright's Martin House, the Greatbatch Pavilion reinterprets the Martin House to expose the structural, infrastructural, and programmatic relationships of the historic building, while continuing Wright's lifelong interest in innovation through the exploration of new materials, technologies, and techniques. The inverted hip roof of the Visitor Center, for example, both references the form of Wright's building and allows uninterrupted viewing of the Martin House. The glass facade of the Visitor Center reflects the public nature of the building's program and contrasts with the introversion of Wright's design.
Pasquet's work will utilize the openness of the Greatbatch Pavilion to create a piece that can be experienced both from within and from outside the building, very much in keeping with Wright's intention to break down the distinction between inside and outside in his design of the Martin House. In this way, Pasquet's work will enhance visitors' experience of both structures.