XYZ

Reality contains layers that are not hidden by deception, they are hidden by the structural limits of human perception. Those limits are themselves a construction, a boundary we have learned to accept as the edge of the real. XYZ begins precisely where our boundaries begin. During a live performance architect and sound engineer Marcos Micozzi actively manipulates each instrument's sound in three-dimensional space using virtual reality, generating a binaural output in which individual sounds (bass, guitar, piano, synthesizer) move, travel, and occupy specific coordinates in the room. The spatial geometry is authored in real time, instrument by instrument, shaping an invisible architecture of sound that can be heard in three dimensions but never seen. The precise X, Y, Z coordinates of each sound moving through space become the raw material for digital sculptor Hef Prentice, whose practice is rooted in an ongoing investigation of organic forms and the geometric patterns found in nature, from the macro to the micro. She sculpts these trajectories from the inside out, coating each spatial path with forms drawn from natural structures, where matter appears to move through simultaneous states of growth, erosion and transformation. The result is a set of hybrid entities that oscillate between the biological and the synthetic, between sound data and living form. The work sits at the intersection of parametric design, data physicalization, and intersensory translation, shifting the register from metaphor to record, from representation to evidence, making present what is invisible to the eye. If this much was invisible within something as familiar as a musical performance, what else does reality contain that we have agreed, without knowing it, not to see?