"My background is in the visual arts, with a primary focus on sculpture, particularly wood carving. Over time, I have become increasingly fascinated by the concept of ‘residue’—the traces left behind after the physical sculpture is completed.

"Sound has emerged as a compelling avenue of inquiry, with the rhythmic tapping and scraping of steel chisels against wood punctuating my process. The act of making, for me, extends beyond the tangible object; it encompasses the sonic imprint of labor itself. This auditory residue has become both an extension of the work and a point of departure for new explorations—transforming the remnants of creation into an entirely new artistic trajectory.

"Arriving late to this project, I was fortunate to encounter one of the remaining sonic traces: the rhythmic clicking of Asante Kente weavers’ looms in Bonwire, Ghana. The percussive interplay of wooden looms provided an immediate textural richness, forming the foundation of the piece. The sounds, derived from the original recordings, are manipulated across varying temporal registers, creating a dynamic sense of shift and drift—suggestive of time itself being woven into the repetitive, craft-based practice.

"I don’t consider myself an archivist as such, but I’m interested in exploring the ways in which sound is embedded in, and expands, notions of activity, labor, place, and materiality."

Traditional weaving in Ghana reimagined by Formolo.

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This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights.

Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

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