Nazaré uses a field recording of the monster waves of Nazaré – reportedly the largest waves in the world – that crash upon the beaches of the town in Portugal after which the artwork is named. The work is inspired by a concept of Gottfried Leibnitz: human perception consists of an uncountable number of micro-perceptions that can build up to the point where we become conscious of what we are experiencing. He describes the sound of the ocean versus the sound of a single wave. What is the threshold that allows us to hear the sound of a single wave? The field recording is manipulated to draw out and isolate countless micro events within each single wave. At times the result sounds like musique concrète, at other times classical and modern. I see the process as similar to subtractive sculpture, in which I gather the overall material of one form and carve away or emphasize elements within to reveal a new one.