Michael Fortenberry’s “The Accessible Instrument” is less an exhibition than an invitation—to touch, to move, to listen. His trio of skeletal, wooden sculptures, somewhere between botanical forms and alien pods, hang and stand in the space, waiting for human interaction to activate their soundscapes. With help from sound designer Michael Simonelli, Fortenberry transforms raw material into a responsive, haptic experience, a meditation on body and presence. Like a William Basinski loop, these pieces dissolve the boundaries between art and viewer, inviting a moment of engagement, of stillness, of becoming.
