"Memory is not in us - it is us who move in a Being memory - World memory." (Gilles Deleuze, The Time Image)
With sound we measure movement, we are documenting the time of an event. What we see in the video is a movement of matter, it's liquifying potential; dynamism of change, as a starting point and a reflection of movement of the emerging images in spectators' minds. Sound is also a matter, the one that contains narrative and is considered to be a contruct of space. What we hear are the fragments of some spaces now introduced in the exposition space, which, having specific dimensions, thus changes the float of this memory, the perception of it. The way these fragments are being present during the exposition has to be considered always as site specific, having in mind the space it has been introduced in.

My interest for the specific sound parts from the floating character of a space whose fragment, in a certain way, it captures. Once we echo it (the sound as it's memory, but as it's spatilization instrument, too), it's past movement becomes co-existent with The Now (where the spectators are, with their own images). We go deeper - with the memory being echoed, gaining new space and time for an event that has finished, or a space we are no longer in. Thus the Void is being created; essentially always "in becoming", which depth is reflected in the echoes it produces and immateriality of sound that shapes it. Gallery space, considered as a field of the floating images - images being created in the spectators' mind at the moment of looking at the video, is The Now of The Void, with the echoes as it's contemporary past, always flowing. Just like the matter we see in the image and in the ending sound, looking for an image... a new one.

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