Recalling fractal structures, these sculptures function as filters, devices through which memory passes, leaving behind a trace, a residue. They are three-dimensional projections of mental and mnemonic processes, mechanisms that compress memory and expand it into space.
The work merges music, visual art, and architecture within a self-referential procedural framework. Human memory becomes the memory of the sculpture itself, reflecting its origin and transcending it, as time emerges from memory. The present slips into the past and returns into the now, generating a continuous flow in which immediacy and recollection coexist.
These sculptures represent the final stage in the deconstruction and reconstitution of the piano, not as a recognizable instrument, but as raw matter reconfigured. Emerging from the explosion shown in the video, they resemble machines designed to preserve human memory, like found objects bearing traces of a former function.
The metal bars are connected through a custom-designed joint that allows each square bar to rotate 45° in relation to the previous one, while keeping the next in a straight, horizontal alignment. This alternating system generates a rhythm that is both systematic and organic. Once the first bars are positioned, a precise sequence must be followed to maintain the internal logic, an artificial structure unfolding with the consistency of natural growth.
The mnemonic and procedural nature of the work is further underscored by oxidation patterns on the copper plates, where vegetal forms have been imprinted through direct contact with the branches. At the same time, red felts, taken from the piano’s dampers, are integrated as small light points, forming a visual constellation that translates rhythmic sound into sculptural form.
Each element of the sculpture follows a precise musical construction, derived from a compositional process and translated into material form. Patterns, whether a sequence of notes, a repeated chord, or a glissando, emerge from digital noise, gradually morph into the sound of a piano, and then shift again into its mechanical noises, offering multiple interpretive layers. This sonic material was subsequently used to compose the audio track of the audiovisual work related to the project.