Rooted in a deep fascination with sound and its material landscapes, Sarah Davachi shapes her work as a sustained exploration of timbre and extended temporality. Her practice is both minimal and expansive, arraying chamber works, solo tapings, and large-scale durational pieces side by side, often recorded in symphonic tandem with the resonance of churches to intertwine instrument and architecture. Her early piano training and studies in musicology and organology imbue her acoustic instruments, particularly organs and synthesizers, with gateway potential, opening aural dimensions where overtones and resonance are meticulously revealed. Davachi also leads workshops and curates performances that situate her work between archival research and contemporary experiment.

• The Head As Form’d In The Crier’s Choir, by Sarah Davachi

• The Head As Form’d In The Crier’s Choir, by Sarah Davachi