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 the pre-Hispanic ceramic aerophones of Ecuador (500 BC – 500 AD).

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

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