This thesis explores listening as a material, temporal approach to artmaking through clay, unstable systems, and unintentional processes. It is guided by three related research questions. What happens when art begins not with control, but with listening? How might clay, time, environment, and unstable systems participate in the making of a work? Can clay be understood as a listening material, and what does it mean for clay to listen on its own? Drawing on post-structuralist thought, the Fluxus movement’s emphasis on chance, and Korean experimental art of the 1960s and 1970s, this research examines how authorship can be loosened through material processes that continue beyond intention and control. The works in this thesis take the form of clay-based experiments, performative situations, and installations using unfired clay, toys, vibration, air, water, writing, and delegated movement. Left unfired and exposed to gravity, vibration, airflow, humidity, and delay, clay cracks, sags, absorbs, and shifts. Rather than treating these changes as accidents to be corrected, I approach them as forms of response. By positioning listening as both a method and a stance, this thesis proposes an artistic practice grounded in delay, instability, incomplete form, and the quiet activity of matter.