The Potter’s Glaze

The Potter’s Glaze

Another audio-visual experiment, this time built around clay, fire, glaze, and transformation.

This piece began with the image: a surreal ceramic figure emerging from a dreamlike world of kiln-fired colour, metallic textures, flowing organic forms, and cosmic glaze. From there, the music took shape as a kind of minimalist cinematic hymn — slow, luminous, and ceremonial.

At the heart of the piece is the idea that beauty is not always applied to the surface. Sometimes it is revealed through heat, pressure, fracture, silence, and time.

The slideshow animation was created to accompany the track as a slow visual journey through colour, clay, cosmos, and becoming.

Rather than using fast cuts or literal storytelling, I wanted the visuals to feel immersive and almost ritualistic — like watching glaze shift in the kiln, or a figure slowly being revealed through flame.

For the animation itself, I worked with multiple still images and scripted FFmpeg routines to create variable breathing pulse effects. Rather than relying on a fixed, mechanical slideshow transition, the timing, fades, and image movement were adjusted to create a more organic rhythm.

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Liminal Sanctuaries

Liminal Sanctuaries

This project grew from a series of blue-and-gold sanctuary images into a full audio-visual meditation.

The central idea was a mythic presence revealed through architecture, symmetry, light, and sound — a figure who feels less like a character and more like a place of origin. She is the axis, the sanctuary, the threshold. Not built, not born, but remembered.

For the song, I wanted a minimalist cinematic hymn: deep male baritone vocal, controlled vibrato, quiet piano, low cello, soft choir-like pads, and a spacious cathedral atmosphere. The mood is reverent rather than explosive, with the music slowly gathering emotional weight before the final chorus opens out.

The video brings the visual world into motion. Some clips use dynamic rotational transformations, creating the feeling of celestial machinery turning inside a sacred structure. Other sections are slower and more meditative, allowing the details, light, and symmetry to breathe. The finished result is immersive, hypnotic, and intentionally dreamlike — somewhere between a temple, a cosmos, and a memory.

The title Liminal Sanctuaries of the Third Horizon felt right because the work lives in-between things: motion and stillness, machine and cathedral, face and landscape, music and vision.

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