Clifton Ingram is a Boston-based composer​ and ​performer (Rested Field). His music aims to approach and retreat from itself along the fault lines of the musical and extra-musical  hidden objects, delicate obstinance, self-devouring ornamentation (self-replication), hastily decanted surface, the expression of a unreliable narrator. He has written music for pianist Andy Costello, pianist/composer Marti Epstein, clarinetist Chuck Furlong, cellist Steve Marotto, percussionist Matt Sharrock, Castle of our Skins, Equilibrium Ensemble, Joint Venture Percussion Duo, Ludovico Ensemble,​ Music of Reality, and Transient Canvas. He holds a MM in Composition from The Boston Conservatory, where ​he studied under the tutelage of Jan Swafford and Andy Vores. His music has been released by Experimental Sound Studio (OSCILLATIONS 2016 Mixtape | Chicago IL) and Dismissive Records (Four Instrumentals, 2015 | Denver CO).

artist statement   

A preoccupation with the inhabiting of thresholds  music as a waking dream. Visceral yet fragile, I prefer my work to operate with an oneiric logic: dissipating when questioned, eluding when investigated. A desire for the work to be irreducible. Despite a reliance upon a musical rhetoric in which sound is treated as an object, my work centers itself around embracing the social implications of its structures. I work with the expectation that intimate or private forces are projected into a public space (and vice versa) by composer, performer, and audience alike  variegated, post-structral, humanist. I am more drawn to historiography than history, a questioning of imbricated modes of expression in a process of ceasless layering. What I desire to make are scores (unrealized music) that knowingly occupy a middle ground, that lay in wait for performers. The emphasized infolding of the ekphratic from one medium to the next  music as translation.