Benoit Maubrey is an often exhibited contemporary American artist born in 1952. While Maubrey falls under the technical title of a sculptor, he labels himself as the creator of "electroacoustic sculptures." These sculptures combine both three-dimensional work and sound in different variations of performance and sculpture. he has made contributions to the fields of dance, sculpture, sound, and technology by combining all three in his "Audio Ballerinas." The "Audio Ballerinas" are particularly important because not only do they eliminate the distinct separation between the performer and the audience by the stage, they also allow the dancers to create the music and dance at the same time. This is vastly different from percussion dance groups, such as the popular group STOMP, because they create a new auditory and visual language in the art world. Currently, Maubrey is the director of a traveling Berlin-based art group called DIE AUDIOd GUPPE. Sculptures There are three main categories that Maubrey's sculptures fall under. The first one is a gate/wall/structure built of speakers. The second reimagines everyday objects being replaced by speakers and the third has sculptures emitting sound. Performances The Evolution of the Audio Ballerinas Maubrey's wearable acoustic systems started back in 1982 when he bought some second-hand clothing and attached loudspeakers, amplifiers, batteries and walkmans to these clothes. A few years later in 1989, the electronic tutu first emerged when he started playing around with solar panels. A dancer friend of his visited his studio and remarked on how similar it looked to a tutu. The first rendition of the tutus operated on solar panels and created sound based on the professional dancer's movement and the surrounding light available in the environment. This allowed for music production and dance to be created as one unit instead of two separate things. Traditionally, western dance would be performed on a stage and the music in the pit by either a symphony or orchestra. The music would be conceived and written first and then, the dance on stage would be choreographed. Around Maubrey's time the same was true even of street performance artists. The music would already be in existence and the dancer would react to it. Here, both occur simultaneously. Not only that but, the dance is what makes the music and the traditional order is flipped. The next addition involved the use of metal rakes that would scrape along the ground and being attached