This series of five assemblages serves as a preliminary test for a larger body of work, originating from an elective on the psychology of Flow at the Royal College of Art. Drawing on the research of Mihaly Csikszentmihalyi, these pieces explore the state of total immersion where the boundary between the maker and the material begins to dissolve.

The methodology is a strict mapping of audio into three dimensional space. Each construction was built entirely within the runtime of a single album, using the record as a logistical heartbeat that dictates the pace of production. This process transforms the act of building into a high intensity labor performance, where the body is forced to keep pace with a specific window of musical time.

By tying the assembly to a fixed duration, the work becomes an observation of the toll on the physical form. It is a site of confrontation between the fluid rhythm of the music and the chaotic weight of the detritus used to house the body. This investigation sits within the landscape of capitalist realism and the horror of overproduction, where the discarded materials of a crumbling system are reclaimed and given a second life.

Through the lens of gothic materialism, these objects are treated as alive, forming a speculative fiction where nostalgia and survival coexist. These five structures are temporary sanctuaries built from future ruins, precarious dwellings that question what remains when the music stops and the world is left with nothing but its own excess. Because the work is inherently temporary, each item can be pulled apart and reused, ensuring the materials stay in a cycle of utility.