INDEX:
1: Introduction
4: Exhibition
5: Publication
6: Press
7: Technical and Methododological Development
This body of work was developed through a practice as research (PAR) framework. PAR positions artistic practice as the primary mode of inquiry. The research questions emerged directly from the making process. Key questions concerned the nature of amplified sculpture. They also questioned how an object becomes an instrument. The methodology was iterative and reflective. Each sculpture was built through cycles of fabrication and testing. The act of playing the work informed subsequent design choices. For “Ruby Harp,” the choice of amplification was critical. The guitar amplifier shaped the final sonic character. This technical decision was a form of research. It explored how electronic mediation alters perception.
For “Gong” (2014), the focus was on materiality. Using a tree trunk posed unique acoustic challenges. The research involved discovering its specific tonal properties. Interaction was another methodological layer. Audience engagement was not an afterthought. It was built into the fabrication process. The sculptures were designed to be touched and played. This invited a form of embodied knowledge.
The catalogue served a methodological function as well. It became a site for critical reflection. Its absurdist design was a deliberate strategy. It challenged the seriousness of the traditional art object. Through this approach, the exhibition became a research event. It was a space for testing ideas through public interaction.
