"When forms collapse, the resulting remains expose layered bits containing infinite possibilities. The inner workings of these fragments make up the foundation of Brian O'Reilly's videos, not unlike microsonic music composition, to which O'Reilly's oeuvre has a great affinity. This type of sound making employs sonic events shorter than musical notes creating a music of vestiges. In these works intervals of visual information are isolated and reworked in order to compose the visualizations for a particular piece. Assemblage art also infiltrates itself a great deal into the videos, albeit in an opposite direction. While assemblage utilizes found scraps to create a new object, these videos degrade original footage in order to unearth the weathered layers in these moving images. Both approaches employ as source material peripheries that would otherwise go unnoticed. By placing a "magnifying glass" onto these materials, a whole visual environment is constructed. This augmented space is precisely what O'Reilly's makes tangible." - Marcella Faustini from "An Aesthetic of Collapse: Brian O'Reilly's Cinema of Fragmentized Failure"
"In trying to trace the tangled threads which make up the methods of how I approach constructing a particular work. I am drawn frequently to a continuation on a conceptual line of thought first developed by Paul Klee as "Andacht zum Kleinen" (a devotion to small things). From the study of the miniscule, the slightest detail, the smallest manifestation of form within the every day landscape/soundscape, it is possible to understand (in Klee's words) the "magnitude of natural order". Thus, from a study of minutiae and its interrelationships, one can deduce the unseen outlines of complex forms..." - o'Reilly
Brian O'Reilly is the creator of various works for moving images, electronic/noise music, mixed media collage, installation, and is a contrabassist, focusing on the integration of electronic treatments and extended playing techniques.
He attended the School of the Art Institute of Chicago on a scholarship for sculpture, following his studies in Chicago he relocated to Paris to study the composition methods & techniques of the composer and architect Iannis Xenakis. During this time he worked extensively with Xenakis' electronic music system utilizing graphic sonic synthesis the UPIC. After a time of research at Les Ateliers UPIC, he received an appointment as the studio's Musical Assistant, during which he worked with Luc Ferrari on his audio and video installation "Cycle Des Souvenirs", and Eliane Radigue on her electroacoustic work "L'Ile Re-sonante".
He pursued graduate studies in MAT (Media Arts and Technology) at the University of California, Santa Barbara, then worked as operations manager of Recombinant Media Labs in San Francisco, and is now teaching music composition, technology and sonic arts in Singapore.
He has worked on projects with Eliane Radigue, Luc Ferrari, Matmos, Maryanne Amacher, Fe-Mail, William Basinski, Francisco López, Garth Knox, Steina and Woody Vasulka, amongst others...
He also regularly performs & collaborates on project "Flicker Tone Pulse" with Curtis Roads, and with the analog modular synthesizer duo Black Zenith & w/ noise composer Zbigniew Karkowski.
The DVD of his work with Curtis Roads "POINT LINE CLOUD" is available thru Asphodel records, and "SPECTRAL STRANDS" with Garth Knox thru Wergo's ZKM edition.