Alex Huddleston is a composer of chamber and electronic music, and a visual artist producing digital and algorithmic art. His music seeks to occupy a liminal space in which serendipitous relationships emerge and collapse in a play of familiarity and otherness. Centered on themes of alienation, sorrow, anxiety, schizophrenia, and fear, his work embodies a singular affect - there is too much and too little, it is too fast and too slow, it is elegant and awkward, it makes too much sense and makes no sense. Contradictions accumulate; all have the form of two yeses pointing outwards, rather than two nos pointing in.
His visual art enacts a dialectic between white and black, between aesthetic and informational modalities. Resembling air-current data visualization, network structure diagrams, plumes of smoke from extinguished candles, a strange face in profile, his works are lodged between abstraction and representation.
He recently received his doctorate from SUNY Buffalo where he Studied with David Felder. Additional instructors include Martin Iddon, Steven Takasugi, Pierluigi Billone, and Joshua Fineberg. His music has been performed in the United States and Europe and he has participated in many contemporary music festivals, including Composit, SICPP, and Darmstadt ferienkurse. He has collaborated with the Arditti Quartet, the JACK Quartet, the Mivos Quartet from whom he was awarded the Kanter prize, Ensemble Mise-En, percussionist Stephen Solook, cellist TJ Borden, flutist Michael Matsuno, percussionist Christian Smith, vocalist Jessie Downs, the Sotto Voce Vocal Collective, and the Nebula Ensemble. He has recently begun collaborating with video artist Olivia Ong Evans and photographer Eric Weeks.
More recent activities include programming and graphic design, and he writes as a music critic for the University of Cambridge's TEMPO.