Part of the collective exhibition Mute (with Bárbara González and Rodrigo Araya) curated by Fernando Godoy for Galería Temporal in Santiago, Chile, August 2018.

Eadweard Muybridge was an English photographer and forerunner of cinema, lived between 1830 and 1904. Since the end of 1870 he developed his work around animal and human locomotion, using multiple cameras to capture moments that the eye is unable to distinguish as separated movements. His series of photographs form what would later be the celluloid film: frames per second, a proportion of image and time. The fluid of time, dizzying and unattainable, could now be subdivided and reconstituted on a sequence of images.

All sound is movement, as the propagation of mechanical waves produced by variations in pressure in a medium, which cause the perception of sound in our brain. Sound is inscribed in time and in our perception, framed by a before and after.

The following work presents a dissection of time akin to Muybridge's photography, wondering if the sound of this action can be constructed in our imagination or in the projection of our memory.

The hammer cuts the air, the metal hits the glass, the bottle cracks, the liquid spills rapidly, the broken glass becomes still again.