sonic theory



Thinking about my artistic practice, I discovered two type of installations, which are: deepsound or surfacesound installations. These originate from my artistic practice of experimentation with sound in two different ways. Surfacesounds are the sonic phenomena that occur when materials are played and excited trough vibration, their surfaces and hollow spaces being activated, while deepsounds refer to sound that conquers  the architectonic space or an open environment, entering in a symbiotic relation with its surrounding, being less object attached. Surfacesound are sculptural installations. Deepsound relates to site-specific works where the site becomes an important part of the work itself. The body of the spectator and his physical movement remain very important in both types of installations, where new sonic places are discovered trough motion. Surfacesound installations form sound orchestras of objects which act as instruments, in deepsound installations the architectural site is played, becoming an instrument itself.

There could be a third type of sonic interventions in the public space, characterised by the uncertainty of events of a work that is less object or architecture related, becoming performatic in the sense of belonging and being exposed to a public body with its own dynamics and tensions. The urban space is a fluid and constantly changing environment, a flexible place where the public body intervenes unforeseenly.