“Threshold” is a body of work born from an inquiry into the possibility of transforming sound into physical matter. How could sound be held, suspended, or frozen? If sound could pause mid-flight, what pattern would it take?

My entry point into this exploration was the Chladni plate experiment, a familiar demonstration from elementary science classes. Vibrations are sent through a flat surface dusted with sand; the grains instinctively settle in the zones of least vibration, forming intricate geometries that shift with each change in frequency and intensity. For me, this experiment was not just a scientific curiosity but a threshold, a way to glimpse the invisible architectures of sound.

Yet, this initial encounter only opened the door. The question remained: how could these fleeting patterns be made permanent, held in suspension as more than temporary phenomena? In search of a method to “pause” vibration, I began substituting sand with ferric chloride, a material already deeply tied to my printmaking practice. By placing the vibrating plates into ferric chloride baths while mounted on a mechanical shaker, the act of etching coincided with the act of sounding. The vibration was not only visible but inscribed directly into matter.

The result is a series of etched plates that operate as both relics and diagrams, moments where the immaterial presence of sound crosses into the permanence of material. These works lie between process and image, experiment and object. “Threshold” names this liminal space: the passage from the temporal to the fixed, from vibration to form, from the ephemeral resonance of sound into the weight of matter.