About 38 special/ the initial inspiration / or drive in this piece was really all about sound.  For a while now I have understood that I am attracted to the way that many materials mask specific sounds/ give off a bit of information when they are moved or brushed. Shout if they are dropped. While I am working and shaping materials I can tell, by sound, how efficient I may be working with a saw and the material by the sounds that pound together as makeup of a bi product when taking this action. I mean, … sounds are everything to me when building. So when playing with a reed from a squeaky toy… I found myself wanting to listen to the “ squeak” in a consistent way/ like a sax.  My mind envisions the vibration of the plastic and aluminum chopping up the air between the white cylinder and me. It is so physical to me. Which brings me to the idea of what and why is the sound happening/ or more like what is the breadth and inspiration for this consistent life happening? I blow in the end of the reed housing and I can only blow in it but for so long. This shows others or me the ephemeralness of life's fragile undertones. So where do I put value on the breadth, and where does it come from? I consider thirty-eight’s special an audible mapping of a pattern over an object at one point. It is important that there is a “point” at which all information is being transmitted. At this point the idea of listening to the space and the object interrupting this projection of information can be heard in some sense. The pattern in which is projected or transferred over space and interference, becomes “points' ' or targets in reverse. These 38 points become foundations of receded  “ inverted nipples or cones,” responding back to the main “ brains”  (one point).  This limited view can reveal many levels of information about the space, the object and what you as a viewer perceive to the side.  Thirty-eight’s special is an installation that will always be an honest and pure installation in any space/ and completely different at any shift.