Maika Garnica’s takes the sculptural medium as a starting point to investigate the relationship between artist, spectator and space. Variations in context and interaction constantly shift the nature of the work, from sculpture to sound object or utensil. Each object consists of one of the most primary elements located beneath our feet: clay. The sonorous properties of this ancient, anthropological and durable material are always explored within specific spaces. It is from this fascination that the ceramic sound objects arise.

During her residency at Q-O2, she continues her exploration of ceramic sound sculptures, shifting focus from physical acoustics to perceptual and mental resonance. Building on recordings made at EMPAC (Troy, NY)—where she explored how her sculptures interact with air and architectural acoustics—Maika now enters a new phase of research. At Q-O2, the sculptural forms become vessels for investigating how sound affects the listener on a more internal, emotional level. The residency acts as a chamber around the work, allowing her to explore sound’s potential for mental and even healing impact. Garnica is particularly interested in how primitive, minimal forms and textures in clay might evoke a similar rawness or purity in sound—and how that, in turn, resonates with the human psyche.

Giving space to these recordings and entering into dialogue with the Q-O2 team, Maika aims to reflect on the conceptual and technical possibilities of this work-in-progress. Together with Q-O2, she also seeks to explore what kind of output or form this evolving body of work might take. The residency offers both critical support and a nurturing context to take next steps in what is a fragile, developing process—surrounded by fellow makers navigating similar terrain.