Left Without the Means to Move

While the sound as itself captures the material’s permeability, its shapes and layers in space are emblematic of the shifting forms of the environment in which the recordings were extracted. The ceramic vessels inherit their forms from the pressings against the sandstones or salt flats and their colours from charcoals when pit-fired in the desert. Together with sounds of knocking, scratching, and pinching of wet clay, crackles of the material when bone-drying, faint echoes of a bird or two and the turbulent rapids gushing, the work slowly penetrates the space by adhering to it and becoming it. By entering the space in which the work occupies, the viewer exerts an intervening power onto the work similarly to how we occupied and navigated through the environments, extracted and displaced the materials within.