Notes on resonance & the kiln.

My practice positions the human body not as a biological diagram but as a complex acoustic structure — a system of resonance and symbolic exchange rooted in pre-Hispanic ceramic aerophones from Ecuador (500 B.C. – 500 A.D.).

Pulse, gait and breath as the engines of life. The first phase of the JCU residency translated the heartbeat, the lungs and the walking rhythm into triple globular flutes and tongue drums.

Nigredo, Albedo, and the unexpected witch. The residency closed with works heavily charged with shadow and light — and a piece that refused to leave the darkness.