I think of art as a social and ecological journey that starts with something you take from our surroundings, and you put it back there, when you are finished with the work you are doing, that is, if you consider that the artworks have beginning and end. Most of the time, I think of my projects as works in progress – going back to what I did in the past and rethinking a real and sensual structure of the object is an important part of my practice. This is why I keep rethinking my previous works into new proposals, although they might not become standalone works in the future. 

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The first Overflow featured a reproduction of water sounds in different states through four speakers in the darkroom of the ASN studio. The new version is a recreation of the same sound piece, but this time the sound is recreated with man-made tools. The household objects are recreating stream, river, waterfall, lake and sea waves, evaporation, and rain. The original idea is to set-up the whole mechanism in a (dark) room that will engage at specific times in order to reproduce water sounds, a reminiscent of a chain reaction ball machine or a domino effect, but for now, the sounds we are hearing are indoor recreations of outdoor (natural) water sounds. Are the water sounds we hear not natural water sounds just because they are not recorded in the forest, or along some loch? The water sounds recreations are investigating the importance of the sounds in general and how sounds of water can be recorded and fine-tuned by different man-made objects around us. Immediately we are picturing the place where these sounds might be coming from, which emphasises a strong correlation between an object that makes the sound and sound as an object. Overflow 2.0 replaces the sound-making object with another one while retaining the qualities of the original sound. As Picon said (2005), our desire for water is contradictory. We crave for a natural dimension in the city but are jeopardising the ecology of water at the same time by making every canal in the city attractive for living. Overflow 2.0 explores this metaphor by underlining that the homemade sound, although reminiscent of a natural sound, is man-made and highlights the artificiality of water and water (infra)structure around us, and how sonically used to it we’ve become.