Dafni Barbageorgopoulou's practice focuses on the mapping of sculptural forms into space, the outcome of which brings together simultaneously ancient and futuristic qualities. Looking at the experiences of dreaming and traveling, her working processes investigate ways in which materials can be configured in order to capture systemic nuances of mind and matter. Central to this inquiry is the exploration of bodily experience, functioning within desire or as a sensor of a rhythm, with a ritualistic pulse towards transformation. Barbageorgopoulou's starting point for the current body of work referred to as Soap, was to observe noise in relation to the body and to transfer this spatially into an object through the use of light and graphic notation. Initially motivated by texts from Jacques Attali, David Toop, and Salome Vogelin, she also turned to a collection of graphic notations compiled by Theresa Sauer, the score for Brian Eno's Music for Airports as well as the concept of Satie's Furniture Music as sources of inspiration. Barbageorgopoulou began collecting various noises from construction sites, and made several voice recordings at the anechoic chamber of the TU in Berlin, where she recited texts gathered from various public Facebook updates. These recordings were then neutralized and converted into different noise formats using the Pure Data software program. Another experiment involved taking audio from advertisements ranging from the 1930's to the present day and layering them into a single collage of aural information. The idea was to use the results as sound masking frequencies similar to the ones used for psychoacoustic experiments, but also as a metaphor to make sculptures.