Research

Part of my practice is to systematize the interaction with a particular material in an attempt to give meaning to aspects and features that tend to be invisible, unknown or irrelevant to other artists, craftsmen, scientists, etc. The frameworks integrate different techniques and logical tools for mapping, observing and dialoguing with materials and their materiality.

RAW CLAY

| Approaches and Temporal, Physical-Sonic Experiences with Clay.
An Interdisciplinary Project on Sound Work from and with Material |

Clay hydration

Sound Art| Universitat de Barcelona

Explo-phones with syringes

Sound Art | Universitat de Barcelona

Clay hydration experiences

Sound Art | Universitat de Barcelona

The purpose of this work lies in addressing the sound quality of raw clay, that is, its nature. This is done intuitively, critically, proactively and ideally empirically. It is a comprehensive reflection on the material through its observation. To achieve this, experiences are developed, ranging from the most subjective to the most objective, and an attempt is made to document them.

OVERFIRED CERAMICS

| Observation of Commercial Red Clay SiO-2 Overfired Structures: Experimental Overfired-ceramic Fusing Techniques Applied to Sound Sculpture Practices |

Clay Hydration Experiences

MACVC | School of Science and Technology, Universidade Nova de Lisboa

Explo-phones tests

MACVC | School of Science and Technology, Universidade Nova de Lisboa

Clay Hydration Experiences

MACVC | School of Science and Technology, Universidade Nova de Lisboa

This multidisciplinary study investigates material characterization and sound-signal analysis to observe overfired ceramic samples. It investigates how temperature and phase changes affect the chemical, mechanical and sound properties of ceramic bodies, with a focus on sound sculpture practices. The study aims to provide simple methodological techniques for this domain. Overfired ceramics produced by excessive firing temperatures often lack functionality and durability, making them unsuitable for conventional use, but potentially valuable for sound art. The research uses commercial red clay to observe its stages and sound behavior, using standard shapes for analysis. It is structured into three stages: Contextualization of the practice within sound-producing ceramics; Experimental design with material characterization and sound activation; and exploring artistic applications based on the experimental results. This study combines material science, sound art and sculpture, offering insights into the acoustic properties and artistic potential of overfired ceramics. It provides theoretical and practical applications for artists and ceramicists, and emphasizes the intersections between materiality, sound and artistic expression, expanding the tools and techniques available for sound sculpture.