Hannan Jones and Shamica Ruddock bring their sound-based practice into sculptural form. Continuing their shared reflections on how rhythm, memory, and identity shift across histories and geographies, the artists turn their focus to musical notation; its conventions, limits and possibilities. In contrast to their use of electronics; synthesizers, sampling and drum machines, Jones and Ruddock deconstruct the drum and the bell - instruments made of wood, hide and metal, which have formed the foundation of rhythmic composition - to reimagine a score in a non-linear, material form.

Metal shaped nearby in Bermondsey, wood from Cambridgeshire, and ethically sourced hide and dyes from Dartmoor, are combined with Jarrah wood from Australia and Mahogany from the Caribbean to create a new sonic language drawn from contexts that are significant to the artists. Driven by the question, ‘what histories and sounds might resonate from the surface of material’, the resulting work brings multiple sites, histories of production and sonic imaginaries into conversation, depending on who is looking and what reverberates.

Commissioned and supported by Forma, Wysing Arts Centre and Knotenpunkt.