At the end of my studies I experimented with automatic scripting. What probably interested me was not primarily the production of images but the sounds produced by these movement and writing processes. However, this I didn't know that at the time. Writing here means a process of motor function, performed with hand and arm not with the whole body. I experimented with different rhythmic patterns, different carrier materials and various chalks. I supplemented the resonance ability of a sheet of paper by the nature of its substructure - from a simple table top to special resonance amplifiers. Later I extended this approach in the sense of frottage technique: for example, to forms of orchestral percussion and many variations of percussion instruments. Audio-visual drawings were created, never neglecting the observation of the image creation. With the next step, a transfer of this process to concrete spaces and architectural situations such as walls and floors, I developed an installative drawing approach that made the partially hidden sounds of a room audible and visible. For example, I discovered hollow spaces under the plaster, which, when tapped, were quite different in pitch and timbre. These events happened either coram publicum as a performance, in which the emergence became transparent (I already called these events concerts at that time), or as an installative result in the sense of designed spaces for an exhibition project. For me, working with sound in the context of a concrete architectural reference was the first conscious experimental attempt in dealing with resonance phenomena of spaces. This insight into the physical self-sound of things brought about a completely new approach to what had previously corresponded to my understanding of music: now it was not only the instruments that were the starting point for playability, but everything that sounds. Self-resonances, feedback, the audible excitability of material vibrations and the rather open way of self-regulation were exactly the processes that made it possible to think about sound in completely different time structures. Through this practice of sound production and material research, new and surprising transformations were constantly being created, as well as the idea of an acoustic plasticity. A kind of physicality of sound. A sound in a four-dimensional state as an extension of the concept of sculpture through time.

Berlin, December 1998