Sound Catchers 2022
I developed my sound catchers as a way to figure out how to communicate to the world my love for both sound and ceramics. During my time at university, I often felt like I lived a double life between my major and my minor, but once I discovered how I could connect my ceramic sculptures to my music it was like finding the golden ticket. The concept of the sound catchers was pure experimentation with shape, investigating what was the most successful in producing sounds when exposed to environmental noise. I discovered that the best shapes were reminiscent of a seashell. The curves made the perfect environment for the pieces to catch resonant frequencies; these are also similar to the shapes of ears and soundwaves without being literal. The beauty about soundwaves is that they are just as malleable as the clay, they can be altered to the point of becoming unrecognizable sounds. I find combining ceramic and sound art satisfying because it allows people to project their references, world views, or opinions onto each piece. When people are invited to interact with them by placing an ear to listen, it provides a moment for them to escape the overwhelming noise of everyday life; it allows them to reconnect with the earth. It also permits them to interact with sculptural art and shows that they are also part of the work itself. Collaboration is very important to me, as I am combining two different art forms that both heavily rely on community. The material I work with I also think as a collaborative partner, clay becomes a direct extension of my thoughts and feelings because it requires so much touch. This is similar to how I develop music, I use the process of musique concrete, developed by Pierre Schaeffer. This treats recorded sounds as raw materials which are then processed with effects, to make new sounds. This process to me is very similar to working with clay so it felt like a perfect way to integrate my sculptures and music.