The Body as Acoustic Architecture

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.).

The body becomes an architectural framework designed to shape breath and frequency. My research focuses on the hypothesis that ancient sonic sculptures functioned as tools for acoustic stimulation, placing internal resonators at key somatic points — the cranial cavity, the joints — to establish a vibrational map of the human anatomy.

I seek to identify specific frequencies that establish a state of bio-resonance with the human frame. Through anatomical resonators, the work investigates the intersection of sculpture and vibrational activation: ceramic as a bridge between material science and physiological experience.