Artist Statement
This process began as a study of western classical music orchestration.  A language was created to interpret and visualize the compositions, by painting the wave form patterns on paper, then glass.

Meaning repetition in Farsi, the project’s title TEKRAR, is a reference to traditional Persian classical music, ‘Non repetitive music in the heart of a repetitive system’.  Sections of classical recordings are sampled and collaged into a new composition, a modern interpretation of variations on a theme.  The work is then fragmented into several halves, which can be played together, and at random, creating a continuous and ever-changing composition.

The first series of sculptures, set out to solve the problem of presenting sound/music as a visual art: a way of converting waveforms into matter. They explored the acoustic phenomenon created when sound waves are reflected off and through metal surfaces. Similar to the effect of looking into a concave dish- where visual images appear upside down- the music is naturally phased, and aurally enhanced.

The project reached its’ germinal level with Tekrar Study Four,  as the object became secondary to the experience being created.  The basic components of the previous studies were elongated, and a correlation was made with the anatomical structure of the human ear:  the eardrum, the auditory canal, and the auricle (as the points of entry).  The variant sound and light patterns are projected onto the reflector/, and diffused into the sculptures core, invariably creating and altering the shape of the space itself.

As the studies continued, and the concept grew exponentially, the sculptures manifested into two and three canalled installations. These levels are accessed via a spiral elevation, a ramp based on the Golden Ratio. This ramp traverses the entire inner space, so that the sonic and visual events can be experienced on and in between each level.   The project culminates in an active monument, TEKRAR, which is structurally based on an altered Mayan pyramid, and the eastern stairway and architecture Persepolis.

Since the primary language of the work is nonverbal, in order to explain the recurring events, a concourse and antechambers were devised, with various sculptural artifacts acting as vessels of information and history.  The CONCOURSE is composed of four columns, one representing each of the their respective levels, in both static, light and sound. Each totem is placed in specific geographic poles, and the viewer, when standing in the center of the concourse, can experience the entire music composition as a contiguous whole.  The EAST and WEST ANTECHAMBER, which are entered through the sides of the CONCOURSE, contain two wall Reliefs and corner Intersects. 
The reliefs are scaled reinterpretations of each of the four levels above, with static light and a variation of the music.  The Intersects, examine what takes place sonically and visually, in between to the two levels.

With the conceptual completion of Tekrar, the focus now shifts towards the documentation, production and exhibition of the inner artifacts, and ultimately the physical realization of the monument itself.