M.A.R. Mineral Acoustic Resonance

Exhibited in Center of Contemporary Art, Seattle
and Stephen Lawrence Gallery, London

The sea is the unconscious of the planet.
It remembers everything that has ever dissolved into it
bones, voices, radiation, prayers. It absorbs the noise of
the Anthropocene, murmuring it back in slow, tidal
code. To listen to the sea is to eavesdrop on deep time.

After Timothy Morton, text generated by NLP

M.A.R. Sound Art installation which continues the experimental design of antennae fabrication to amplify the sound territories emitted by electromagnetic fields. Seawater, rich in electrolytes, is again deployed as a conductive medium.
M.A.R. concerns the interaction between water, minerals, flows, communication and currents. Seawater functions as a conductor of electricity, a medium for capturing sound, and a bridge that binds places, signals, and memories with water and currents, weaving together sounds, images, and entities—blurring the boundaries between here and there, presence and transmission, the invisible and the inaudible.”
In the installation at CoCA, amplified sound moves seawater particles, generating mechanical vibration, resulting in a very quiet sound, audible if visitors approach the membrane closely.

The work centers on three key elements, both conceptual and technical in nature. First, the use of seawater as an electrical conductor, leveraging its natural mineral content. Second, the sonic exploration of the electromagnetic realm, revealing the interplay between natural and artificial forces through sound. And third, the exploration of biomaterials, based on algae as a speculative future of technological infrastructure. Together, these components form an entangled system where the natural and the synthetic, the electrical and the acoustic, the organic and the plastic, the sonic and the visual, the fluid and the still, the human and the non-human coexist and interact. This entanglement generates a productive tension—an invitation to reflect on the boundaries between nature and human-made systems

Ultimately, the project raises a provocative question: Are materials like plastic, concrete, wires, or even technology itself now part of the ecology? By blurring these lines, the work invites new forms of ecological thinking—ones that acknowledge complexity, contradiction, and interdependence. .

Stephen Lawrence Gallery, London 2025

Center of Conceporary Art, Seattle 2025

Water Speaker, Bioplastic membrane (algae based)