GROOVE BODY GLITCH (2025) explores the body as an instrument of transformation and queer ecological attunement. The installation and performance emerge from a series of handblown crown glass records, created by spinning molten glass into flat, circular discs, a technique historically used to produce windowpanes. These records are etched, imperfect, and sonically unstable, embracing fragility and resistance as expressions of queer materiality.

When played live, they generate unpredictable soundscapes that circulate through the performer’s body in a feedback loop of movement, vibration, and rhythm. The tiled stage and pole function as extensions of this sonic ecology. Glitches manifest in cracks, skips, and distortions, interrupting linear flow and reframing failure as a site of potential. Glass resists transparency, sound evades control, and the body moves through disruption and transformation.

In this work, listening becomes an act of attunement and care. It is an embodied and situated exchange across material, sonic, and human or non-human forces that invites multiplicity and the possibility of becoming otherwise.