Notes

Inspired by Oscar Forel’s remarkable bark series, this work explores synaesthesia – the blending of senses – through abstraction and limitation. The artist reflects on the invisible force of wind and its power to reshape nature: how it bends grass, generates movement, and transforms landscapes.

Photographed using a simple point-and-shoot Pentax on expired black and white film, the image connects conceptually to the idea of noise – a term often used to describe unwanted imperfections. The exaggerated grain stands in stark contrast to today’s hyper-real digital imagery and the manipulation tools designed to sanitise it. Here, the grain invites the viewer to lean in, to hear the wind – imagining its motion and presence.

Printed at A0 size, the scale is intended to disorientate the viewing experience. From afar, the image may appear comprehensible, but up close the grain overwhelms, dissolving into abstract pattern. The monochrome palette also nods to Synchromies – the viewer is prompted to assign their own colours and sensory associations, engaging in a kind of synaesthetic interplay.

The title holds two moments: first, it acts as a command, a summoning. Its construction is partly inspired by Nabokov’s memoir Speak, Memory, in which buried memories and abstract impressions are granted agency, allowed to narrate. Second, it serves as an invitation – to the viewer – to enter into dialogue, to listen beyond the stillness imposed by a static visual.