My studio practice concerns the transposition of sound, time and motion into other forms. Most recently, this has manifested in attempts to cast explosions in aluminum and bronze, but this body of work began more gently as experiments in which traces of the past were conjured out of analogue technologies and made visual. For example, for the Norwegian WoodDrawing (2012), I undertook to divine something of the sadness and brilliance of John Lennon from old Beatles albums by way of a mechanical contrivance that transferred the minute variations of the vinyl grooves onto a paper surface. The resulting series of drawings appear to, even if in a very small percentage, contained true traces of Lennon’s essence. Indeed, consistent throughout this body of work are methods that allow for the energies, motions and essences at hand to be captured and presented in a seemingly raw and unfettered manner. As such, theCast Explosions (2015) and small Trinity (2016) pieces are not representations or renditions of explosions, but the actual explosions themselves, albeit in a stilled state. While there is a strong speculative element of this pursuit, the works nevertheless emanate an undeniable aspect of the real, one that lends them reliquary-like presence.