‘Column of Sound’ stands tall at 8.5 ft as a unique form, created specifically using audio from the site’s location. The work signifies the idea of translating sound wave into a 3-dimensional sculpture.After recording audio from the vicinity of the sculpture’s site, I conceive a physical representation of the sound. The marble slices are stacked and adjusted to match the visual of the sound wave. The work stands as a profound transformation between audio and visual realms.
The work is site-specific and responds to its immediate environment, though not literally. But it is trying to break the notion of how we perceive sound and trying to expand its possibilities of engagement.
The sculpture tries to lock a sound recorded from a certain space and time and then freezes it in tactile form to stay forever. The two hemispheres on either end are holding down the sound for me.
During my artist talks, I ask the participants to close their eyes for 30 seconds while touching the several marble slices. Then I explain to them that what they have just touched is the physical form of a sound I recorded similar to the one they just heard. This sense of performativity is very important for me as an artist.
I am not trying to be scientific or literal yet I am allowing people to experience the possibility of relating sound to tactility. I do like the word ‘ethereal’ which appropriately puts my sculpture in the realms of entanglement. The other crucial idea is that the sculpture has the marble slices locked between two mild steel hemispheres which seem to lock the sound. For me, there seems to be a need to store the memory of sound in tactile form so that exists forever in physical space.
“If a tree falls in a forest and no one is around to hear it, does it make a sound?” is a philosophical thought experiment that raises questions regarding observation and knowledge of reality. – Geroge Berkeley