Detached from its austere exterior, detuned over time, the piano’s harp has been broken open. The way it sounds, sometimes tender, sometimes terrifying, is dependent on both its history and how it is touched; what it’s been through and what we bring to it. This wild instrument is not a passive object waiting to be played. It has its own capacity to act, resist and resonate; it invites a way to play free from traditional musical and sonic expectations. Once intended to be civilised and ordered, together with the insides of the piano, we may unravel.

There is no right or wrong way to play.