Evicshen is a cross-disciplinary sound performance alias by Victoria Shen who manipulates records and outside materials of all kinds. Her sounds oscillate between moments of restraint and swells of frenzied and confrontational maneuvers.

Instrument maker Shen’s audio practice is concerned with the materiality of sonic spatial physicalizations via self built electronics and how these extended custom built sculpture appendages specific to her body restructure a listeners relationship to the emergent room frequencies through a lens of disruption and experimentation.

Eschewing conventions in harmony and rhythm in favor of extreme textures and gestural tones, Shen uses what she calls “chaotic sound” to oppose signal and information, eluding traditionally embedded meaning toward tendencies that erode boundaries between performer, tool and audience. These noise trope activations whose melodic voids cross-examine the ways we perceive value within radicalized aural experiences emphasize a tension created by opposition – control and chaos, the unique and the mass, the practical and the absurd.

Her adventurous abstractified music can also feature analog modular synthesizers, vinyl/ records that are cut up in cast resin embedded with found materials functioning not only as playable music media but as unique art objects. Victoria also pioneered the use of Needle Nails, acrylic nails with embedded turntable styluses, which allow her to play up to 5 tracks of a record at once. These phono needle permutations, Levitating speaker, and her Noise hair Combs are some of the objects created by her as part of an extensive repertoire of innovations in the design of audio augmentations

Her work resists passive consumption. Instead, the body as both subject and instrument, using jagged motion and tactility to provoke visceral, often confrontational encounters with sound. Her appearances are directly physical, unpredictable, and ephemeral—rejecting polish in favor of raw immediacy.

Through her DIY discursive practice spanning, installations and non-traditional means of distribution, themes of spectacle, violence, control, and gender are interrogated. The primary intention is not necessarily to comfort or entertain, but to destabilize: to push systems, tools, and traditions until they reveal something less anticipated or unexpected , recontextualizing the formats of readymade assemblage practices. These poly-sculptural elements invite the experiential viewer to unpack one’s relationship with the material possibilities for magnifying unusual and provocative audio phenomena.