2018 — installation — a maya + rouvelle collaboration

The translucence of glass – the ability to see through a solid form, has always interested us. In our previous work with glass we explored sound as another less visible aspect of the medium – but a quality with enormous physical resonance and emotional power. The invisibility of sound waves, their coupling with the physical realities of the objects that create them, and the translucence of glass are, for us, situated at the border of understanding and imagination.

Curated by Benjamin Wright, our new work for Pushing Buttons @ UrbanGlass can be understood as a tableau — a portrait, but a portrait absent of a specific, human subject. Yet the evidence of a presence, the things that would be around a person, or a group of persons, are all there. An absence is perceived in an act of both observation and imagination. This is a kind of transparency of a foundational structure that to us is analogous to glass.

The relationship of Artifice and the natural world is at the center of Caesura. Yet the natural world, represented by replicas, appears authentically only in video on tiny screens. The electronics, glass and other manmade components are presented in various contradictory situations as if the persons who inhabit this world have lost a clear sense of a conflict between organic and inorganic, between reason, and fantasy.

Caesura is not a synthesis, it is an amalgam. The irregular rhythm of the metronome, placed within the tableau at the scale of a monument and covered in a large symmetrical glass bell with a funky handle, suggests that one’s reason is prone to produce mysteries and data in equal measure. Perhaps pitting these aspects against each other is obscuring a perception of the invisible, formative structures of which we are a part, and within which conflict is an illusion.

Full Flickr set/video here.

où l’âme heureusement reste libre

lili maya

2017 – dimensions variable – digital print [original work / pen and ink]

figure ground

2017 — performance — a maya + rouvelle collaboration

Figure Ground is a movement and media work performed at Eden’s Expressway in SoHo NYC as part of Movement Research’s Open Performance Series ( This video is documentation of its first performance.

The work is based on the Second Tableau (The Sacrifice) of the Joffrey Ballet/Millicent Hodson’s 1987 reconstruction of the “original” Nijinsky choreography and Roerich costume and set design for the 1913 Ballet Russe production of Le Sacre du Printemps.

At the core of this piece is a cyclical dynamic of transitioning figure and ground relationships. Ritual, sacrifice, mystery, earth, the heroic, politics of gender and technology, death and renewal are embodied by the integration, camouflaging, and collision of different musics, times, materials, cultural forms, and media.

Materials: original and found sound and video, paper, string, choreography and dance.

Found Video:
> Festa Della Bruna
> Les 100 ans du Sacre du Printemps par le théâtre Mariinski
> My second best SuperHyperCube run, so far
> US soldiers getting manicures
> Len Lye’s Tusalava

Found Audio:
> Beethoven Op. 132, Budapest Quartet
> Stravinsky, Requiem Canticles
> Burial, Come Down to Us (Hyperdub 2013)
> Ambient music for Len Lye’s Tusalava

of, from


2017 – dimensions variable – digital print [original work / paper] > in-progress work for a maya + rouvelle collaboration.

place and borrow


2016 — installation/performance — a maya + rouvelle collaboration

Realized in a re-purposed bank in Detroit, Place and Borrow is an interactive performance work for actor and media. The piece was developed for G. Louise Cooper, who gave the performance and installed the work in the multidisciplinary art space Grand on River as part of MicroMacro Art Biome (catalogue pdf). The video was shot by Remi Slade-Caffarel.

The basic premise of the piece is that somehow, through the process of installing the exhibit, the formerly abandoned bank has woken up to find itself an art space. It channels its dual nature through a head teller/performer and attempts both to continue its business as a bank and performance venue. This is America, 2016.

The media includes bismuth, lead, paper, string, bio-plastic, a wireless, head-mounted camera, projector, and a remote control vehicle.

video of performance / photo documentation

A detailed description of the piece, script, and other relevant materials can be found here.


lili maya echo

2016 – dimensions variable – digital print [tape, nails, dismantled ornament]


until-lili maya

2016 – dimensions variable – digital print

derivando: roam

2016 – video – a maya + rouvelle collaboration

composed from fragments of other maya + rouvelle pieces, documentation and experiments, derivando is an ongoing series of works in sound and image that are a confluence and slippage of times and processes.

these works are best experienced through headphones.

an ideal space on the frontier

2015 – video for installation/performance projection

An ideal space on the frontier is a topology of events and media realized for Stazione di Topolò, July 2015. A maya + rouvelle collaboration with artist James Rouvelle. The work includes an installation/performance with mezzo-soprano Carlotta Buiatti, a musical composition, handmade musical instruments, materials found on site, drawings and video.

Inspired by the location and its history on the Italian and Slovenian border, Stazione di Topolò was an ideal space for us to continue to explore with sound, light and movement the qualities of suspension that take place on the frontier; where the essential in-betweenness of all things is evoked, with its ever present shifting perspectives, dualities and parallels.

This video was developed on site and includes footage captured in Topolò as well as unpublished material from earlier maya.rouvelle projects whose content foreshadowed this work. The visual echoes between the Topolò footage and the previous work footage form an isorhythm across time and space, another frontier. As a part of the installation/performance the video was projected onto drawings positioned over found objects.

The musical composition is a cross-synthesis of different musics from different times and media organized around the theme of the project.

Lili Maya - Topolo-4



Lili Maya - Topolo-2

These drawings belong to a series created for and included in the installation/performance. Their process was analogous to the process for creating the musical composition in that both explored the border as a site of hybridity and assemblage. The drawings are presented here as they were photographed in a neighboring site illuminated by the Friulian sun, thus extending the work into yet another neighboring frontier.

full project documentation:
installation/performance photo documentation
video documentation of the installation
video for installation/performance projection

resownen, prelude

prelude to installation/performance work for Stazione di Topolò, July 2015


rosa va bien

lili maya - rosa va bien

2015 – dimensions variable – digital print [original work / wax, mixed media]

tangential cut

lili maya - tangential

2015 – dimensions variable – digital print [original work / glass etching]


2014 – maya + rouvelle collaboration with artist James Rouvelle / live recording of performance with handmade glass instruments and electro-magnets from our artist residencies at the Museum of Glass and Pilchuck Glass School.

images are on flickr.


@ Pilchuck Glass School / Artist in Residence Summer 2014

38 hours to spring


[still] 2014 – 38 hours to spring is a maya + rouvelle collaboration – the music is a variation on the song of seikilos.

solution-dissolution, once

solution dissolution once

2014 – dimensions variable – digital print

solution-dissolution, twice


2014 – dimensions variable – digital print

levitation with impossibilities

lili maya-levitation

2013 – dimensions variable – media variable

à la vitesse de ton souffle


2013 – a maya + rouvelle collaboration / more information + video documentation @ maya + rouvelle and vimeo

à la vitesse de ton souffle was influenced by our time walking in and around Paris, La Générale/AtelierPier (residency/gallery) and Versailles – it is an installation in the form of a sequence of compositions and spaces made of sound, light, objects, code and movement, activated by visitors walking through the gallery at the speed of their own breathing.

au concert printemps flottant

lili maya - maya.rouvelle

[detail] 2013 – au concert printemps flottant is a maya + rouvelle installation that was shown at the palais de tokyo in paris. the piece was part of concert hall, a large collaborative work in the palais de tokyo’s exhibition entitled nouvelle vagues.

au concert printemps flottant is a kinetic installation composed of organic and industrial materials, including a live tillandsia medusa, a custom LED grow light, a motor, and commercial gas vapor street lights, among other materials. a micro-controller regulates movement and changes in lighting intended to both sustain the tillandsia and reveal a sequence of 26 short variations in movement and light over 11 minutes. au concert printemps flottant was built and programmed on-site during the installation period for nouvelle vagues’ concert hall and was influenced by, and references, the themes of music, play and integration at the heart of this exhibit.

materials include: tillandsia caput-medusa, electronics, tubing, springs, custom electric light, vellum, wood.

the dimensions of the work are approximately 10’x20’x15′ / photo documentation @ flickr and video @ vimeo site

imagining a modern taxonomist straddling a wellsian time machine

time machine

2012 – 18×24 in – mixed media

lili maya imagining


lili maya - maya.rouvelle

2012 – a maya + rouvelle collaboration / photo documentation @ flickr / video documentation @ vimeo


lili maya

2012 – 14×23 in – casting paper and mixed media

through continuo

lili maya - james rouvelle - bzc2

[detail] 2012 – maya + rouvelle collaboration with artist James Rouvelle – paper and electronics – approximately 9’x16′