Metaxi – in between

Metaxi, a joint exhibition by Panos Couros and Nicholas Comino presented at Damien Minton Presents, Sydney, Australia, from 2–13 July 2026 was an exhibition that combined ceramics and sound in an exploration of transformation, place and memory. The work brought together a series of hand-built ceramic vessels and an immersive sound installation composed from field recordings and electronic sound. Developed through an ongoing interest in material processes and listening, the exhibition examined the relationships between objects, environments and lived experience. Sound was presented as an integral part of the work, extending the physical presence of the ceramic forms and shaping the atmosphere of the space. This page documents the exhibition, its development, and selected works presented within it.

The ceramic vessels and platters are influenced by archaic Greek and Byzantine forms, with surfaces developed through ongoing experimentation with high calcium magnesium satin matte glazes originally based on research by John Hesselberth and Ron Roy, with some very helpful hints from Trisha Dean. The works explore texture, colour, erosion, and material depth, creating objects that feel both ancient and contemporary.

Four of the ceramic works contained embedded transducers and a custom audio system that allow the clay objects to act as speakers. The sound compositions combine Byzantine chant, recordings of the waters at Delphi, environmental recordings made at Bundanon, and the natural resonant frequencies of the ceramic forms themselves. The ceramics and audio operate together as a single work, with sound physically activating the objects. Byzantine chant by Samer Madbak.

This video documents Metaxi. The exhibition combined ceramic sculpture and spatial sound, exploring relationships between materiality, memory and place.

The sound heard in this video was played through four of the ceramic vessels using transducers attached to the forms, allowing the works themselves to function as resonant loudspeakers. The resulting sound environment became an integral part of the exhibition, with the ceramic vessels acting as both sculptural objects and sound-producing instruments.