Chad Mount: Frequency and Perspective

Chad Mount: Frequency and Perspective

Concept image courtesy of the artist.

Overview

Chad Mount: Frequency and Perspective

June 25 - November 2, 2026

Mary LeFlore Clements Oklahoma Gallery

Admission is always free; tickets are not required

Chad Mount’s work is grounded in curiosity and guided by discovery. He is drawn to light, rhythm, and pattern—subtle forces that reveal themselves through patient observation and repetition. Frequency and Perspective invites viewers into an immersive environment shaped by geometry, light, and movement.

In this installation, Mount employs projection mapping, laser light, generative visuals, and sound to create spaces that respond to presence and perception. While the work integrates both analog and digital tools, its origins lie in lived experience, quiet moments of observation, meditation, and time in nature. These experiences often lead to what he calls “micro-awe”, fleeting but powerful moments of inspiration that fuel his creative process.

Mount is particularly fascinated by the visual language of nature including fractals, spirals, and other symbolic geometries that appear across the natural world and the cosmos. These forms feel at once familiar and ancient, as if they carry knowledge long remembered in the body but forgotten in the mind.

At its core, Frequency and Perspective offers a playful invitation to shift perception. It seeks to gently interrupt the familiar and awaken the senses, creating a space where stillness becomes signal and perception transforms into experience.

Artist Biography

Photo of Chad Mount
Photo by Justice Smithers, 2025. Courtesy of the artist.

Featured artworks

Brightly colored lights form geometric patterns on a wall
Brightly colored lights on a wall
Two people look at brightly colored lights on a wall

Images

  • Concept image courtesy of the artist.
  • Photo by Justice Smithers, 2025. Courtesy of the artist.
  • Concept image courtesy of the artist.
  • Concept image courtesy of the artist.

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