When attending the annual SAR conference in Plymouth back in April, the work of French philosopher Catherine Malabou was presented to me.

Especially her thoughts on plasticity and destructive plasticity as a creative force, was intriguing to me.

At that time, I did not know why, but during the course of the following days it dawned on me;

I had encountered the force of destructive plasticity within my own work – I had encountered an explosion.

I started to reflect upon, how a given method can result in a direct result – but also initiate a chain reaction leading towards critical mass followed by explosion.

Looking back at my own project I can now see that it has in fact exploded – so instead of being only text-works describing sound I´m now dealing with creating different potentials of sound, where text-music is only one media, and sound-installations without physical sound, another.

Back in April I exhibited my latest work at gallery Rum/Klang – a result of the explosion.

'Potential for 65 triangles' is a sound-installation that operates within a potential state, without any physical sound. The installation is experienced while wearing earmuffs, to block background sound, which enables the creation of an imaginary soundscape within the listeners mind. The audience are not allowed to touch the triangles, so that the piece will remain a sonic potential without answers.

'Potential for 65 triangles' (2018)