It is a sound and material investigation that arises from the intersection between the archaeology of form, sensory ecology, and natural philosophy. This project takes as its reference Mesoamerican globular flutes—pre-Columbian instruments shaped not only by musical perception but also by a cosmic perception of sound as a human-telluric connection—to design a series of ceramic objects that resonate with the earth.
Geophonics seeks to propose an experience in which form, matter, and sound merge as expressions of geological memory. The pieces are modeled after plant forms, fruits, and tubers: organic shapes that embody an evolutionary intelligence and a vital logic inscribed in the geometry of nature. This vegetal aesthetic is not decorative, but rather a living strategy of reconnection, an effort to tune into the primal pulse of the planet.
Each ceramic object functions as a wind instrument—a resonant air chamber—but also as an electronically amplified sound surface, capable of being played, rubbed, or struck to reveal its multiple acoustic layers. These pieces are simultaneously speculative fossils and performative devices; they are records of the present that evoke a listening yet to come.
Geophonics aims to reclaim a sense of the earthly as an aesthetic, in which the work of art aligns itself with the mundane, not to dominate the forms of the world, but to walk alongside it in its becoming. Rather than representing nature, this project embodies it, expands upon it, and allows it to speak through its own formal and sonic logics. And so, the sublime in nature is not here the grand and distant, but the near, the tangible, that which vibrates within a fruit, in the curve of a tuber, in the breath of air that resonates in a vessel.
This practice is part of a geological, vegetal, and mineral listening: a geophony that invites us to think of forms as sensitive entities, and instruments as thresholds to an expanded perception of the living. In this sense, Geophonics is an a priori form of the living: a proposal that seeks to reconfigure our relationship with sound, with matter, and with the planet as a resonant organism.