Using the vibration and air pressure of sound, an experimental glass blowing technique is employed to determine the shape and form of the sculptural objects. The air pressure generated by the physical force of sound-waves was channeled and used to blow the molten glass. This process is a mutation of the sonic, or what is heard, creating fossilized vestiges. Opaque sand becomes translucent material in this process, a poetics of clarity rendered from what is unheard.

“What is a sound fossil?
The term seems paradoxical, hermeneutically weird. Can a sound be fossilized, a fossil made audible?
Perhaps its fascination trades on a gap between words —an imagined ellipse between fossil and sound, sound and fossil, where meaning congeals in the proximity of difference.”

– Amelia Barikin. Sound Fossils and Speaking Stones: Towards a Mineral Ontology of Contemporary Art

In an additional attempt, glass plates sprinkled with sand dust were subjected to sonic vibration, revealing resonance patterns in the form of organic shapes. These patterns left by the glass dust were then burnt into the plates, fossilizing and rendering these sonic traces into a physical object.