An Hour Away, 2017

S.R.S. (Sick Room Syndrome), ongoing

Viva Vida Frugal, 2021
Sediment Versions (I-IX), 2020


G.A.S. Redux, 2019
as free, 2019
Money Riddles, 2018
Islands, 2018 - ongoing
Oswaldo III, 2016-ongoing
Univocal:Univocal:Univocal, 2016

Kobo Abe Reduxshort story
Play ‘Em, short story

Sediment Versions (I-IX), 2020, w/ Andrés Saenz de Sicilia 

Sound, 14:25
Dubplate printed on Transco lacquers from 1974. Cut at Music House, London
Produced by Villa Lontana Records.

As part of group exhibition Memory Game, at Villa Lontana. Curated by Jo Melvin and Vittoria Bonifati.

Group exhibition artists: Tauba Auerbach, Cyprien Gaillard, Susan Hiller, Thomas Hutton, John Latham, Charlotte Moth, Rosalind Nashashibi + Lucy Skaer, Olu Ogunnaike, Giorgio Orbi, Andrés Saenz de Sicilia + Emiddio Vasquez, Edoardo Servadio and Joëlle Tuerlinckx.

Curators’ text Andrés Saenz de Sicilia and Emiddio Vasquez were invited to respond through sound to a selected number of artefacts in the Santarelli Collection, to unlock their acoustic memories and guide them into a new fusion of inscriptions and conversations. These histories are accumulations of multiple interconnected events and processes, legible at varying scales:
geological, civilisational, sociological, psychic, emotional, etc.

The objects act as a ‘site’ of condensation, to transpose contained historical energy into sound, as a way of releasing those memory constellations and making them accessible in a phenomenal way, through listening. Sediment Versions (I-IX) is made using field recordings and photographs of the marbles to construct filters that "shave off" frequencies from the
raw material of the objects, imagining these surfaces as histories, or writings through which sounds travel. The original sounds are then processed to become the final compositions, like geological sediments that are not accessible when listening to them in their raw state.
The artists’ methodology, is an investigation of sounds, digging down like archeologists to isolate layers. Some layers of sound correspond more to a specific object from the set they’ve been asked to respond to, and others relate more to the objects as an ensemble.