Surface Level is a performance in which low-frequency audio grooves—inscribed onto the organic surface of amber as fixed loops—are transformed into fluid gestures through acoustic and material interference. Pressure, sediment, and time have formed the amber, now it forms the sound: high-pitched distortions, sonic irregularities, and rhythmic deviations that had not existed in the tones generated in the sterile environment of a software. Each groove here becomes a fragment of an oscillating puzzle, where fixed loops continuously shape and reshape one another through resonance, phase cancellation and contact.
        The amber came from the artist’s father’s jewelry workshop — brittle, cloudy, too fractured for commercial use. Monolithic disks assembled from leftover fragments were milled into hollow, uneven forms with no connection to the center of a turntable, echoing their origins — something discarded, a fragment of a supposedly larger picture.

>>This is not ritual. It is labor: mechanical, repetitive, and unrecorded. Movements that shaped matter as its dust crept from my father’s workshop onto his clothes and settled into our home.

        Without overlooking the sacral and ethnographic symbolism of amber the work listens through them, toward the material as a geological field recording of multiple processes rather than specific practices. What matters here is not any single element, but what passes between them: the frictions, modulations, and distortions that fold themselves around otherwise precise frequencies. Distortion is not an error—it is the signal itself.

>>The roots pause their growth and cling to the soil. The mosh pit of wind and trees reshapes and disorients the forest. Being lost here is familiar.
Dripping antiseptic suspends the residues of timelines older than itself - sticky gesture of (self-) preservation.