Created between 2008 and 2009, “Instruments of Listening” belong to an early body of sculptural works exploring the relationship between sound, memory, and the human body.
Constructed in plaster, clay, and welded iron, these sculptures transform musical instruments into silent anatomies. Fragments of faces, self-portraits, and ears emerge from their surfaces, dissolving the boundary between the body that listens and the object that resonates.
The harp is no longer an instrument waiting to be played. It becomes a living presence, capable of receiving what cannot be heard: memory, absence, whispered histories, and the invisible vibrations that connect human beings to one another.
The ear appears repeatedly, not as a symbol of hearing alone, but as an image of radical attention. Listening becomes an ethical gesture before it becomes an acoustic one. It is an openness to what remains fragile, overlooked, or unspoken.
Alongside the three harps, a welded iron lyre introduces another dimension of resonance. Its exposed structure speaks of tension and endurance, while its material contrasts with the vulnerability of plaster and clay. Together, the works investigate music as a metaphor for relationship rather than performance.
These sculptures mark the beginning of an artistic research that continues throughout my practice: an exploration of matter as a living archive, where memory is held not only in images but in the silent capacity of materials to receive, transform, and transmit experience.
Every instrument becomes a body.
Every body becomes a place of listening.
