A Conversation with Co-Curators Mike Kotzen and Martin Maudal, "Sound Formations: Artist, Musician, Instrument Maker," Claremont Lewis Museum of Art, by James Scarborough
March 22, 2025
In "Sound Formations," the Claremont Lewis Museum of Art bridges sonic utility and visual aesthetics. Co-curated by Michael Kotzen and Martin Maudal, this exhibition reveals Claremont's rich musical heritage while celebrating craftspeople who turn instrument-making into fine art. The show doesn't just display instruments; it reveals the relationship between maker and musician, material and sound.
The curators go beyond mere display. They've created a sensory journey that shows how these handcrafted objects work as both tools and sculptures. Each instrument tells multiple stories - of craft tradition, acoustic innovation, and visual design. The exhibition also highlights Claremont's influential music scene, particularly the Folk Music Center established in 1958, which has nurtured generations of musicians and makers.
What makes this show compelling is its refusal to separate form from function. These aren't instruments divorced from their purpose; instead, the exhibition celebrates their dual identity. The "Sound Formations LIVE" concert in May completes this experience, letting visitors hear these crafted objects fulfill their sonic purpose. In doing so, the exhibition challenges traditional museum categories and invites us to experience these works through multiple senses.
Featured artists include Henry Barnes, Richard Barnes, Charles Chase, Otto D'Ambrosio, David Dart, Kirk Delman, Kris Erickson, Pete Escovedo, Steve Goode, Michael Kotzen, Martin Maudal, Father Bill Moore, Brian Ransom, Elizabeth Redd, Jom Rivers, Victoria Rosas, Warren Shingleton, Dave Tourje, and Larry White.
Below follows an email conversation with Michael Kotzen and Martin Maudal.
JS: Your exhibition explores the intersection of craft, visual design, and musical functionality. Can you share what sparked the concept for "Sound Formations" and how you chose the featured artists?
MK: Years ago, while Martin and I were both creating musical instruments in our own studios, we realized there was a community of instrument makers in our area, and we created the group Artisans of Musical Design. Chris Toovey of the dA Center for Arts provided the venue for our first show.
MM: We had created a show called Artisans of Musical Design several years ago at the dA Center for the Arts in Pomona that ran for 3 or 4 years. Sound Formations began as an expansion of that.
JS: Claremont has a significant musical history, particularly with the Folk Music Center established in 1958. How did this local heritage shape your approach, and what connections did you make between historical contexts and contemporary makers?
MK: Growing up in Claremont and being inspired by the local music scene in the 70’s created the foundation for my love of music and rhythm from many cultures. I frequently bicycled to the Folk Music Center to see and play the latest drums and percussion instruments Mr. & Mrs. Chase had acquired. Many years later, Dorothy introduced me to the cajon.
MM: Well, if you're as loud a kid as I was growing up, to have a space where I could bang, scratch, shake, and strum pretty much anything within reach and no one *ever* told me to be quiet… that was heaven! Such is the Folk Music Center.
And the Sound Formations opening, just as the Artisans shows at dA had, offers that opportunity for mayhem and the sheer joy of making noise.
JS: The instrument is described as "a bridge between the hand of the maker and the hand of the musician." Could you explain this relationship and how you've made this connection visible in the exhibition?
MK: While curating this exhibition we sought out artists who approached their instrument making practice from one or more of the following methods: utilizing traditional craftsmanship, working with non-traditional materials to create new and innovative instruments, or directly for form and function. Each one creates a direct connection with the musicians they are building for.
JS: What challenges did you face in exhibiting objects that are both visual art and functional instruments? How did you balance aesthetic presentation with conveying their sonic properties?
MK: I believe each piece is a work of art. We relied on the expertise of Seth Pringle, Director of Exhibitions & Collections, to put it all together.
JS: The exhibition features work from eighteen different artists. What guided your selection, and how did you create a cohesive narrative while showcasing diverse approaches to instrument making?
MK: We were interested in highlighting local builders representing a variety of instruments, from the 15th Century Viola da Gamba and contemporary guitars to ceramic sound sculptures and percussion we hope to stimulate conversation and further exploration.
JS: The companion event "Sound Formations LIVE" extends the exhibition into performance. How important was this auditory component to your vision, and what might visitors gain from hearing these instruments played?
MK: To not be able to hear what the instruments sound like would be akin to losing one’s book before reading the last chapter. I’m grateful to the museum for offering this opportunity to share the coalescence of the builder's and the musician's voices in a concert setting.
MM: I've always thought of instrument making as meta art; art that makes art. You tell a story, then the story tells a story. A great example is Henry Barnes’ work. One might look at Henry's stack of utterly unique-in-the-world gear and not have a clue as to its purpose, until he breathes life into it and creates sound that is as unique as the art that makes it possible.
JS: Many of these instruments reflect traditional forms reimagined through contemporary craftsmanship. How do you see these artists balancing innovation and tradition?
MK: Each of the artists have built pieces that integrate creativity and functionality culminating in an instrument with a unique voice. The tradition of instrument making has provided the parameters for the artist to work within while exploring contemporary ideas and materials.
JS: How does this exhibition challenge conventional ideas of "fine art" versus "craft," and what conversations do you hope it might spark about these distinctions?
(Executive Director Martin Betz): As artists continually look for new ways or “old ways” of expression I would say the distinction between fine arts and crafts has been blurred for about 20 years. There are many contemporary artists who quilt, knit, weave, etc., and many craftsmen who have worked in a different language. Great examples in the show are Brian Ransom, Kris Erickson, and Victoria Rosas.
JS: The exhibition celebrates handcrafted instruments over mass production. What larger cultural implications do you see in this return to artisanal creation in our digital age?
MK: While well-made, mass-produced instruments are used by the majority of the top musicians in the western world, handcrafted instruments made completely by an individual builder may offer a unique voice that may not be manufactured for the mass market. There’s always been an interest in bespoke one-off instruments.
MM: First, there's nothing wrong with mass produced instruments. the sensitive fingers of a great musician can tell you that even if there were 10,000 copies of a design made, they do not all age the same.
Wood is a truly amazing material! Every tree has its history, its own growth pattern. My feeling is that this doesn't stop when a living tree becomes a musical instrument.
But collaborating with a great musician on an instrument, and Mike can tell you a lot about this, is one of the most rewarding experiences one can have in this endeavor.
JS: Looking beyond the exhibition's run, how might "Sound Formations" change our understanding of the relationship between visual aesthetics and musical expression, and what lasting impact do you hope for?
MK: Developing a passion can be life changing. It would be wonderful if this show inspires interest in, or support of the arts, as makers, performers, listeners, appreciators, or buyers.
MM: Looking beyond? Hmmm… I can tell you why I built my second guitar. My first one was an idea, then it was a pencil drawing, then it was a mixed media sculpture… then one day when I strung it up and tuned it for the first time… it *became* something else. It became something that could make music. That is a powerful moment! But even more powerful to me was the thought that occurred… that if I did this right, someone could pick this guitar up 200 years from now and make music that I can't even imagine. *That* is why I built me 2nd guitar. And every one since.
The exhibition will open with a reception on Saturday, April 5th, from 6pm to 9pm. Elizabeth Hangan will perform with Phillip Charles, Glenn Richardson and Cougar Estrada. It will remain on view until July 13th, 2025.
The museum will present "Sound Formations LIVE", a free public concert on the lawn, Saturday, May 3rd, 4-9pm.
The Claremont Lewis Museum of Art is located at 200 West First Street, Claremont, CA, next to the Metrolink Station. For more information, click here.