The combination and contrast of natural and unnatural forces and objects serves as the basis for this work. In a quasi-scientific-experiment fashion, I set up three beakers on a self-constructed stand made of audio speaker supports and a wooden board with holes drilled through it. Below the beakers (which were filled with water) sat three vessels containing sand, heat (one pot rested on a heating pad) and pop-rocks (a candy that debuted during my childhood which always fascinated me - because of the carbon dioxide injected into the candy, it "pops" in your mouth; by all rights, this was my first tactile experience of so-called "microsound").

Water from the beakers was then dripped onto the three vessels, and recorded until the water ran out. I also made two graphite drawings of the set-up during this process, and recorded the sound of myself doing this as well.

The track I included on the compilation CD reconstructs the sounds of the still-life by sampling certain sounds and reorganizing them, along with some purely synthesized tones, into a composition. The digitally-composited version of the drawings included in this exhibition was approached in a similar manner, using digital photographs (or "samples") of the drawings along with some purely digital elements to create a visual interpretation of the still-life and its acoustic process that combines traditional gesture drawing with digital composition techniques derived from pointillism, cubism and abstract expressionism.