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The work of Marco Lampis is based on sound perception and on the relationship between sound, objects, space and body.
One of his main theoretical reference points is the philosopher Henri Bergson. His writings about “duration” and his “theory of intuition” allowed him to expand his research towards an always more installative practice direction, more materic, being implemented through the use of different media, in which sometimes the sound is present, but not necessarily.

I like to say that I create sound installations without the use of sound. It is evoked, recalled, suggested for example by the shape of some sculptures I did using different materials such as wax, polystyrene, mirrors or cement; as if symbolically the eye formed the ear: to listen with our own eyes, looking with our own ears.

During the residency, I would like to focus on a work project that I called the ear builder.

It is developed through a series of installations, sculptures, workshops and actions and I would like to focus mainly on two works that are part of this cycle. The first one is about the language and its inability to describe music experiences;
it consists on analysing one or more musical reviews and on extrapolating only the phrases that attempt to describe the track or the album to which the text refers, so as to obtain a surreal text.

In this work, which take the name of the first article that I used, Anstam, it develops the second project that I would like to propose.

It consists on producing audio tracks, sound pieces, which attempts to describe (or analyse) some objects, such as small sculptures. This work is inspired by the rhetorical figure of the Ekphrasis. The word Ekphrasis derives from the Greek (define an inanimate object with a name) and indicates the verbal description of a visual art work, such a painting, a sculpture or an architectural work.