Crush (de)construction is a work for 13 musicians based on the exploration of the creative process of a sculptor. This process begins with two distinct entities, marble on one hand and the steel of the chisel on the other. The sculptor then transfers energy to the marble through the chisel, in a deafening collision between the two materials. Through this contact between materials, the sculptor materializes ideas in the marble, transforming a block with infinite possibilities into a powder that is nothing more than a memory of what could have been, yet remains a necessary process to obtain the desired object.
The process described is irreversible, an illustration of causality (a block transformed into dust by an impact). However, for this work, I chose to reduce this linear process to a series of three images, three moments frozen in time that deconstruct the sculpting process. These images structuring my musical discourse are: the two separate materials, the collision between them, and the suspended dust resulting from the contact between the chisel and the marble. In this way, by avoiding rhetorical continuity, I can focus on these three entirely individual images where I can eliminate the cause-consequence effect and play with their different combinations.
The title, Crush (de)construction, refers to the contrast between the concepts of construction and deconstruction made possible by the elimination of unidirectional temporality. Thus, the work can be heard by the listener either as a deconstructivist process, where elements are gradually lost until arriving at the minimal necessary element, or as a construction process, where the presented elements gradually create the desired sonic sculpture; but this work can also be understood as two simultaneous processes, a construction through deconstruction.
