I used organic fragments from old books: fungi, flowers, and minerals, combined with the lively, intuitive scribbles of my youngest daughter which also seemed to illustrate the musical movements.

They sounded like water underneath the whirring of machinery, movement through sand, a landscape of grass, and irregular rhythms of another world.

It reminds me of the fragility of ceramics as a medium, despite its sturdy appearance or texture.

I wanted the track to have cathedral-type qualities, to emphasize the hall of the sculpture, the echo of the curve.

As Ila’s sculpture was taking shape, it evoked for me sounds of wind, cavities, wind instruments, and air circulating through those cavities―sounds entering and leaving.

Nature, amorphous atmospheres, bodily experience, and natural landscapes are all sources of inspiration.