“As a sculptor, my work has consisted for several
years now of giving a form to the energy contained in the materiel."
Lorella Abenavolli, Matricules
XX Fantastic
Metamorphosis
If making the invisible visible is the “main territory of fantastic
art" (Brion, 1961: p.41), it is perhaps because explorations in sound
art were not yet widely accepted at the time that fantastic art was
emerging. Visual fantastical works allow people to grasp invisible
phenomena through visual devices, which, to a certain extent,
transfigure them. Can technological tools also to allow us to perceive
the imperceptible? Many artistic projects archived in Matricules use
inaudible mediums. The body creates sounds that we cannot hear, but
which, when we work with them, can become tactile materials. These are
what Nicole Jolicoeur calls “limit sounds;” the sounds that occur just
before speech. She records these “bodily murmurs” and then manipulates
them to create a bizarre choir, an intimate melody. Hayley Newman
captures the sound of bodies in motion, brushing and knocking against
microphones, to create her own chorographical rhythm. She gives us an
audible picture of the presence of movement in space. The most common
things have their own specific sound. By amplifying these sounds, the
objects can be given new properties, like the onion peels manipulated
by Magali Babin. Can we still hear the earth we live on despite
everything done to deface it? Lorella Abenavoli’s project makes the
energy of the earth audible through its movements and vibrations. A
tool allows her to take readings from seismometers and transform the
earth’s waves into sound. All of these mediums are very real, but they
have to be given an audible shape for us to be conscious of them. They
have a secret life that technology allows us to uncover. This is how
our world is transformed and how it becomes fantastic.







