before the bells (my prayers won’t remain)
This work operates at the threshold between matter and listening.
It draws from practices of situated sound, where attention precedes signal and where silence is not absence but structure. The sculpture does not function as representation, nor as instrument. It behaves as a residue of transmission: a body that once carried flows, now holding delay, tension, and interruption. Sound unfolds nearby, not to activate the object, but to share a temporal condition with it. What circulates is not information, but duration. A form of listening that resists immediacy, productivity, and resolution.
Influenced by site-responsive practices and post-industrial material research, the work considers listening as an ethical stance: an act of staying with what does not speak clearly, what remains untranslatable, what refuses synchronization. before the bells, (my prayers won’t remain) gestures toward a moment prior to inscription - before call, before ritual, before collective alignment. A time where sound has not yet become signal, and matter has not yet been fixed into meaning. What persists is not a message, but a vibration.
Recovered industrial conduit, dust, sound piece