Reflections and thoughts about time and materialization is my main theme in this essay. I start with introducing my background as a musician and how I moved from there into art. My search in wanting to build a bridge between these two art forms and discussing the differences between thenature of music and art. Since music is a time-based art- form I compare it with the nature of myworks being also time-based, but unlike music, dealing with space. How I moved into making art with impermanent materials such as food and the influence I have from John Cage and his philosophy of silence or nothingness and chance. I discuss Fluxus-art in order to connect my work to the fact that often it has leads into no-products and being event-based. The influence I have had from the artist Andy Goldsworthy which has led me even further into thoughts about the inherent nature of the material, dealing with the concept of time and nature. From Goldsworthy I move into discussions about the method of using intuition as a tool, and howthat has led me into creating works like my Bachelor graduation piece, allowing myself to take risks and not always be in control of the result. Between contradictions in material and thought, letting it go as it will, these are all facts about the art of Eva Hesse, who's works I discovered in Konstfack and how that was like finding my parent within art. The coating, surrounding and wrapping have repeatedly appeared in my art, I discuss this way of expression as a metaphor of different images of time, connecting to the Icelandic artist Sigurdur Gudmundsson and his lecture held in 1969 about time. The environment has become my platform in the masters project. There I have created both visual and aural works that are circling in one way or the other, around the subject of time and materialization. I ask myself, if I will be able to gather the result of that work in a space and create acertain balance between these different elements? I point out the fact that centuries ago music mixed with art in the church. From there I move into discussing a sound performance I made that had no visual contact and was made instantly in one hour. In the context of working instantly I discuss the chaotic order in Jessica Stockholder's works and how she allows chance and dreamlike ideas to exist in her installations. Finally I move into the part of my present work, where I am using sound. The reflections about creation with hardly any involvement of myself, partly letting the result solve itself.