Echo Chamber utilizes the exhibition space's steel structure as a resonance body. Eight transducers cause the structure of the freestanding staircase to vibrate. Sound waves travel through the material, overlapping and intensifying to create a room-filling reverberation.

The sound originates from a Rhodes electric piano positioned in the center of the space. Inside the instrument, hammers strike metal tines, causing them to vibrate; pickups then convert these vibrations into an electrical signal. This signal travels to the transducers, which translate it into vibrations, thereby causing the steel plates of the structure itself to vibrate.

On the upper level, contact microphones are attached to the steel plates; positioned far from the transducers, they capture the sound that has traveled through the material—losing clarity and definition along the way. The sound is amplified via loudspeakers but is also audible if one presses an ear against the steel plates.

A performance featuring pianist Denis Makram accompanied the opening of the solo exhibition.

Fender Rhodes kindly sponsored by M:BRS
www.backlinerent.de

During playback, the diamond needle continually removes material and leaves behind fine lines, causing the stone to become increasingly similar to a vinyl record over time.

Digital tools are not viewed as a means of control,
but rather as a bridge bringing us closer to what
already surrounds us.

Publication contains a printed mdf box, a 52-page book, a secondhand-sourced walkman and a cassette

Read the full book here

The work Distortion Pedal (step on it) playfully references this, combining a robust, industrial mass-produced item with fragile, traditional craftsmanship.