Drawing on the musical notations of the Yang tradition which resemble landscapes on paper, I experimented with transmutation. Contrary to the Tibetan representation of sound through imagery, I tried to move from the image to the sound and then back to the image. I distilled the image of the waves, their curves and their collisions into the crashing sound of the waves. The two senses – vision and hearing – enter a peculiar dialogue, as their abstract forms turn into an arrangement of lines. Those lines reflect the magnitude of the waves and their movement – a form of visual echo.