Low-frequency vibrations and haptic textures, produced using found natural objects, operate at the threshold of hearing — engaging the body as a receptor of and interlocutor with its surrounding environment. The work takes listening as an embodied and ecological practice, exploring how matter and experience meet through careful, sustained attention. Developed as a special commission by Rewire Festival (The Hague), the performance was presented as a sensory-sensitive concert: reduced volume, limited audience, and a fully low-stimulus environment designed to allow full presence with the sound.

Subwoofer and ultra-subwoofer systems activate the architecture itself as a resonant structure, channeling seismic data recorded across Ukraine between 2022 and 2025 – missile strikes and explosions in Kharkiv and Kherson, the destruction of the Kakhovka dam, earthquakes, and the continuous tremor of ongoing conflict – converted into audible sound and low-frequency vibration. The performance translates the seismic traces of war into a physically felt experience, moving beyond hearing into the body itself.

Built from field data, archival photographs, and ecological records, with sound weaving together a traditional Ukrainian steppe song (Hilka collective, 1996) with electronic and environmental recordings. Four natural territories scarred by the full-scale invasion – Sviati Hory, Syvash, Velykyi Chapelskyi Pid, and Kamianska Sich – are documented through ecological research and interviews with a biologist. Each chapter holds a specific landscape: its ecosystems, its rhythms, and the precise damage military activity has inflicted upon them. The work treats these places not as symbols of loss, but as concrete environments with their own processes, species, and thresholds of survival.

Using 3D scanning as its primary visual method, the work dissolves anatomical form into fluid, porous digital textures – rendering skin, internal resonances, and spatial thresholds as shifting terrain. The digitized body becomes a living topography, mapped through sonic and visual cartographies of its surface and interior. The installation moves through posthuman questions of vulnerability and identity, treating the human figure not as a fixed form, but as something permeable, unstable, and continuously recomposed.

Found materials – metal, plastic, glass, foam, moss, bullet casings, string, piezo pickup, and neon light — assembled into a hybrid form that holds damage and growth at once. Shattered, crumpled, scarred, and living things coexist in a single structure: destruction and flowering occupying the same body. The sculpture invites interaction, drawing visitors into its liminal space.

Electrical micro-variations captured from living plant tissues are translated into parameters for sound synthesis, with florariums forming the installation's central physical presence. Responding to shifts in humidity, temperature, and human proximity, the plants generate a continuously evolving soundscape – one that is never composed, only grown. Into this, the performers listen and adapt, their improvisation shaped by signals that are neither musical nor human in origin. The work proposes a shared ecology – attentive, reciprocal – in which plants act as active biological agents within a more-than-human whole.

A permeable architectural structure embedded with proximity and motion sensors channels visitors' bodies, gestures, and movement through probabilistic real-time mappings into a four-channel spatial soundscape – textures, grains, and sonic trajectories shifting continuously with each presence and passage. No interaction produces the same result twice. Agency is distributed across visitors, materials, and the system itself, making the Cube less an instrument to be played than a shared spatial environment that plays itself through collective inhabitation.

Conflux Festival, 2025

Sub-sur-face, 2024

Cxema Because, 2024

Tree, 2024