I decided to learn how to play percussion instruments when I felt that rhythm is the beating of every life’s and of every creation’s heart.
I often sit by myself, preoccupied, and begin to rap unspecified rhythms with my fingers. They leave my body spontaneously and effortlessly. I imagine our forefathers in a similar situation: sitting in a circle at night, beating a twig or branch rhythmically. This is how musical history must have begun.
As a potter I wanted to create an instrument I could play. I wanted to make it very special. I began construction thinking that it would be easy. It proved to be very demanding and arduous work.
Afterwards I wanted to create a better one. And so I made another one, and another one…and another one. I continue to do so today.
It was like a game. However, the sound, like a Siren, bewitched me and I began to experiment. Through observation, search and listening, I began to find the points which determine and improve the sound, the functionality and quality of the instrument.
Shortly thereafter, another game began involving shapes, forms and endless combinations, which thanks to clay – a material with infinite moulding possibilities – became even more interesting. This creation’s purpose was each instrument to comprise a work with life, personality and acoustic individuality. To be unique.
I often work on traditional or classic instrument forms. Even though they have been worked on for centuries and may have even acquired perfection, musicality and the abstraction of the ideal, I hope that a few points have remained, which I can improve on even more by changing them.
Other times, I let my imagination fly free, as far as it pleases. What it brings back are ideas for unique and special instruments beyond rules, that are merely claiming a privileged position in the field; instruments that resemble three-dimensional notes.