This composition addresses the concept of sound containment, yet in this instance, it is completely fractured by misinformation. The project serves as an antidote to the pervasive falsehoods propagated by the media and communication channels in the modern world.
The vertical screens, solid yet fragmented, evoke the image of the sound mirrors used in the UK during World War II as an early warning system for incoming aircraft. These sculpted screens are deliberately fractured, symbolizing the breakdown of communication. The conflict of words, messages, and actions is no longer contained; instead, it is distorted and disrupted, reflecting the damaging and disturbing impact of misinformation on our collective understanding.
The sculpted figures are positioned within the sound enclosure, with two figures placed at the lower level, two characters situated on the first plinth level, and a fifth figure seated atop a set of steps that form the structure of the setting.
The viewing public is invited to engage with the installation by walking up an enclosed ramp, nestled between the vertical screens, leading into the ‘Hall of Sound.’ This immersive space offers a rich experience of audio and lighting, designed to evoke a deeper sensory connection. Visitors exit through an open ramp at the back of the hall, which also serves as a functional space, housing the light and sound equipment, accessible via discreet panels. This interactive design invites participants to move through the installation, becoming part of the dynamic interplay between sound, light, and sculptural form.
White Noise
