Inversion #3 invites the viewer into an encounter that is as much felt as heard. Wall-mounted and commanding in its physical presence at 152.4 by 121.9 by 40 centimeters, the work houses an intricate internal system of infrared sensors, Arduino components, and WAV triggers that activate upon approach, releasing a layered sonic composition built from two distinctly charged sources: the voice of Rose Blanshei and the emergent, almost geological chorus of Brood X cicadas. Tsabar encases this technology within materials borrowed from the luthier's craft, including wood, varnish, paint, and purfling, the thin decorative inlay traditionally used to protect and beautify the edges of stringed instruments. The result is an object that reads simultaneously as sculpture, instrument, and living system. Naama Tsabar's practice consistently interrogates the relationships between architecture, the body, and sound, and Inversion #3 exemplifies her ability to charge a static form with latent energy. The pairing of a human voice with the cyclical, overwhelming sound of Brood X cicadas, insects that emerge only once every seventeen years in massive synchronized waves, produces a meditation on cycles of dormancy and eruption, intimacy and scale. The viewer's proximity becomes the trigger, making presence itself the compositional act. There is something deeply political and somatic in this dynamic, as the work refuses passivity and implicates the body as a necessary participant in its unfolding. For collectors, the work offers a rare convergence of sculptural rigor and performative intelligence. Its materials speak to both fine craft tradition and contemporary electronics, while its conceptual underpinning rewards sustained engagement over time. Available through Spinello Projects, Inversion #3 represents Tsabar at a moment of significant critical recognition, making it a compelling acquisition for those committed to collecting at the intersection of sound, sculpture, and embodied experience.