Erin Gee is a Canadian artist and composer who explores digital culture through metaphors of human voices in electronic bodies. Working across musical performance, choral composition, robotics, and audio art, Gee’s practice is distinguished by an interdisciplinary approach to sound in art and music, as well as in areas of technology, science and engineering. Her work has been shown most recently at Transfer, NYC (2018), Trinity Square Video, Toronto (2017), MediaLive Festival, Boulder Museum of Contemporary Art (2017), Hamilton Artists’ Inc. Canada (2016), Device_art Triennale, Croatia (2015).
Gee is one of three artists selected from an international competition for the Algorithms that Matter residency at Institute for Electronic Music in Graz, Austria in the summer of 2018. She has collaborated with artists and composers such as Hamilton Children’s Choir, Stelarc, Andrea Young, and neurophysiologist Vaughan Macefield. Her research in sonification of physiological markers of emotion has been noted by Scientific American, VICE, MusicWorks, Canadian Art magazine, and the National Post, among others.
Gee was Assistant Professor in the department of Communication Studies at Concordia University from 2015-2017, teaching in areas of sound production, gender and technology, and sound studies. Gee is currently leading a research group in the Department of Chemical and Biological Engineering at University of Maine on the topic of creative open-source biosensor development.
Gee has published work in Leonardo Music (2013) as well as eContact! Journal of Canadian electroacoustic community (2010). Gee is also the creator of futurefemmes, an online blog archived by Cornell University featuring interviews, showcased work and links to relevant articles on the topic of women working in technological culture.
Gee has received awards from the Canada Council for the Arts, and the Conseil des arts et lettres du Québec, as well as support from the Conseil des Arts de Montreal, the Social Sciences and Humanities Research Council of Canada, and the Saskatchewan Arts Board. She is grateful for their continued support of the arts.