Water Stirs our Grief: A Choir of Tears (2025) is a sound installation with performance universe unfolding water-centered journeys based on a script with three acts:

Act III introduces a pond in a garden of revolt inviting you, the listener /participant, into a somatic imagining of a reentering into the pond while we witness a poetic correspondence between the embodied and unembodied voices on the element of water.

Act IV follows another water journey between Copenhagen and Malmo through the öresund train line where the voices profess a poetic grief through an erotic reckoning and embodiment of water.

Act V introduces unembodied voices journeys through waters in an interlude in Montgomery where a dock brawl unfolds; and then there is a reprise (where it began but the future comes first here) where the voices journey further into the waters of the Strait of Gibraltar in the atlantic ocean where a choir of tears and rage unfurls. At last, orcas join in plotting different throwings of boats ignited by the presence of millions of ghosts previously having lost their lives during the atlantic slave trade, and within modern migrating routes crossing the African and European continents.

This text was written to be listened to. The listening proposed here is somatic, metaphysical, and one that transcends the limits of matter. The voices that converse move between earth and the unearthed, the dead, the unseen and the intangible. Some are human, or have been human previously, and others have been divine all along. The listening proposed here is not rational nor linear. It exists in a multidimensional parallel world(s) across spirals of time within this garden of revolt(-ades). It’s the waters that speak mainly through these voices and bodies. And the waters also listen to you.

The sound installation weaves elements from specific locations, memories, nature elements, voices and an aspect of non-linear time where past, present and future blend, crossover, remix and repeat. These sounds reflect erotic relationships between the inner livings of human and non-human bodies allowing the listener to become a witness of this chaotic and at times overwhelming universe. They were made in collaboration with Amalia Garay (sound composer and musician), Auria Paz (musician and shaman) and Skrot (instrument builders and musicians).

I was looking for inaudible sounds and the relationships within what is subtly, or, less obviously inaudible, and how to amplify these, and bring them into a louder existence. I am often interested (almost obsessed sometimes) in listening to what seems invisible, intangible, and unknown, or unheard of when I am having an active listening relationship to material. I get pulled in when sound produces a sort of oracular encounter affect to my senses.