She started to develop the S1 in 2014 in space, where she would do shows. “Many of the questions that I ask now, I wouldn’t ask back then (…)”. Some exhibitions:
- Emily Jones: Orange Action Clinic (2015)
- Justin James: Reed Shining Bodies (2015)
- Marisa Jezak
- Tony Hope
- Coast2c New Year’s Eve (2015)
- Birch Cooper Ornamental Hypergate Conglomerate (2016): first time doing a generative piece, where Cooper would build his synthesizers.
- Grouper (2016) was a slightly derivated form of the show to showcase experimental noise music. “The energy in the space was excellent (…)”.
- Rachel Malin & Raque Ford: Raquel Raquel (2016).
- Synth Library (2016). “Alisa Derubis approached me to build a space with synthesizers: ‘I can go to expos and bring stuff back(…)‘“. It was a space dedicated only to use the libraries, the same way a book library works, where you can use the synths to explore and obtain new practices or knowledge. Every synthesizer would have a patch synth so one can learn the synth profoundly. People that attended: The Creatix, Wizard Apprentice, Julius Smack.
Around the same time, she started working with Moog – “I don’t particularly appreciate being told what to do, but I had to put capitalism aside and make sure I could provide the artists I was working with the gear they need to create artworks (…)“.
In 2016, Ghostship hosted a show where a fire took place, and many people died. “It was a very physical period. Many of my friends died. It changed our community forever. Nothing was the same after that. We were so traumatized. My flatmate was getting sued by many families (…)”.
FILE – This Dec. 3, 2016 file image from video provided by KGO-TV shows the Ghost Ship warehouse after a deadly fire that started late Friday swept through the Oakland, Calif., building. The fire killed dozens of people during a electronic dance party as it raced through the building, in the deadliest structure fire in the U.S. in more than a decade. For those who survived, it was largely a matter of luck that when the first cries of ìfireî were heard, they were able to find their way through smoke and darkness or were near enough to a door or already outside. (KGO-TV via AP, File) NYTCREDIT: KGO-TV, via Associated Press
Outside of their space, she taught in different projects: Moog Workshop (LA) and Kontaktor Festival (Latvia). “I’m proud of the outcome that S1 took. A no-budget production that allowed many artists to blossom (…)”.
In 2018, they were working with the Wysing Art Centre to collab in an exhibition called More of an Avalanche. Also, she collaborated with Keyon Gaskin in a show called Subharmonic.
She abandoned S1 and supported Coaxial Arts in 2020, where she participated in a fundraiser. Before moving to Berlin, she lent some of her gear that she wouldn’t eventually use in LA, which is still on – Feminist Synth Lab. Later she started working on a new sound piece called EROTIKA 25. She was 30, and it was her first time leaving the continent. She performed in Latvia and other places – “I have to stop being a baby, and I should put it in the radio. Now it’s a permanent piece of living in the online world (…)”. She moved to Berlin, and she found out she had cancer. She burned out.
“This day, I woke up in the hospital and thought, ‘I’m going to die. Yesterday I was doing loads of things, and now I’m dying. I’ve to take time, be at my body and heal. But it was hard. I kept second-guessing who I have all the time (…)'”.
During the pandemic, she released Sweet Hour (Enmossed x Psychic Liberation). It was the first she decided to use ASMR within sound. I’m ready to release more. In 2021, she released Fringe through Ecstatic Recordings. In 2020, it was a platform waiting to be released she designed it with a finish synth company, which focuses on the idea of manipulating ASMR – they named the project/platform AMQR.