artist statement   

I must confess a preoccupation with liminality, a fascination with the thresholds between spaces or states of being. Music for me inhabits such thresholds, central to both its production and function. The composer occupies a state between potentiality and actuality; the performer a position between notation and sound; the sound itself suspends between performer and audience, ripe for interpretation. Liminality haunts the proceedings of music-making on many levels, and for this reason I prefer to believe it functions as a waking dream. I prefer music that operates with an oneiric logic, dissipating when questioned, eluding when investigated. The way I work reflects this: I draw on uncommon and archaic language in order to occupy a place between a titular concept — thought of as an eponymous entity that exists outside of myself and a personal reading or understanding of it. My intent is not to reject self-expression, but instead to compose as a sort of predication by turning my attention externally toward my environment, setting into motion a compositional process that strives to escape from — yet inevitably ends in — self-projection. The aim, therefore, is for my scores (unrealized music) to occupy a middle ground, to lay in wait for performers. 


Clifton Ingram (b. 1983) is a Boston-based composer and ​guitarist (Rested Field). He has written music for Andy Costello, Marti Epstein, Chuck Furlong, Matt Sharrock, Equilibrium Ensemble, Joint Venture Percussion Duo, Ludovico Ensemble,​ and Transient Canvas. From 2010 until 2012, he was a curator at Brown Rice, a performance venue for new experimental and improvised music and arts ​in Chicago. ​​In 2013, he attended the Summer Institute for Contemporary Performance Practice (SICPP) at the New England Conservatory under the tutelage of Steve Drury, Rand Steiger, and Nicholas Vines. He holds a MM in Composition from The Boston Conservatory, where ​he studied with Jan Swafford and Andy VoresHis recent music is informed by an enthusiasm for a liminality of musical and extra-musical elements, focusing on semantic implications concerning historiography and related proximities to definitions of humanity.