This portfolio and commentary document the realisation of a series of sound art works which seek to explore aspects of the physical materiality of sounding objects. The portfolio consists of seven acoustic sound sculpture installations which were exhibited in both indoor and outdoor site-specific settings. The following commentary outlines the motivating principles behind the work as well as its position within key art culture and research contexts before discussing my praxis methods and approach to each work in detail with reference to related theory and existing artworks. Established theories of sound reproduction and acousmatic sound practices are examined in order to frame and contextualise the importance of the local, acoustic encounter with the work and new terminology is proposed to account for this distinct characteristic. My media archaeological method and use of existing sounding objects as stimuli is discussed as well as my approach to the development of materials, compositional intentionality, documentation methods and the audience encounter.