This new body of work is based on the interaction of sight and sound. Although scientifically categorized as respective senses, they can often work in unison. The term kymatik was coined by the Swiss doctor Hans Jenny in 1967 through his study of visual sound patterns. But this phenomenon had been noted hundreds of years earlier by both DiVinci and Galileo. Our years of exploring the fringes of photography have driven us to an equal preoccupation with the ways that the gap between sight and sound can be bridged and presented as fine art. Just as a sound can be seen, so too can an image be heard. These images are echoes.


This series uses photography as sculpture in that we are translating a time-based medium of sound and contrasting it with the space-based form of photography. In here, everything you see is a sound. Everything you hear is a photograph. The photographs, vinyl record and films are reflections of each other that fluctuating between differing mediums: sight, sound, time, and space. The 12 photographs that represent the 12 notes used to create music. We photographed the sounds using a handmade spectrograph. This led us to wonder about how visuals sound. We transformed the photograph back into a sound and created a three minute soundscape using all 12 photo-tones. We came full circle by broadcasting that song through a digital spectrometer, which photographed the sound as a spectrogram to revealing all 12 images as a whole.


This album is an individual work of art. The first track is a 12-note soundscape which can be reconstituted by the listener into photographs by way of a simple spectrometer. The second song is a more traditional duet that pays homage to the muse of art and it’s a musical version of our Southern Gothic artistic style. It is a visceral response to the technological aspect of the project. The album includes a praxinoscope cut into side A, an analog music video for the duet that turns 12 photographs into a single animation. Side B has a high resolution gray scale photograph mastered directly into the original lacquer. Its existence as a photograph is accomplished through the time-based process of lacquer mastering for music.


We believe that the standard dogma—everything has been done before—is false. Despite finite colors, sounds, subjects and material, an artist’s curiosity and delight creates the fathomless. Science and art share the same fascination with the infinite and seek to describe it with the finite. Science finds the infinite in the Idea and art in the perceptible material we use to etch it. It can be as mind-blowing as a snowflake and as sublime as the big bang, each a souvenir of the infinite.