Surface Level is a live performance in which low-frequency audio grooves—inscribed as fixed loops onto the organic surface of amber—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 did not exist in sine waves generated within the sterile environment of software.

              During the performance, each groove becomes a fragment of an oscillating puzzle, where fixed loops continuously shape and reshape one another through resonance, phase cancellation, and material contact. 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.​​

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          The amber originates from the artist’s father’s jewelry workshop: brittle, cloudy material discarded as commercially unusable. Monolithic disks assembled from these leftover fragments were milled into hollow, uneven forms with no fixed relationship to the center of a turntable, echoing their origins as something residual—a piece of a supposedly larger picture. Without overlooking the sacral and ethnographic symbolism of amber, the work listens through these associations, approaching the material as a geological field recording of multiple overlapping processes rather than specific practices.

>>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.