This work took form as a listening structure placed at the lake margin for Floating Land 2019. It gathered sound from water movement, wind through trees, distant birds and ambient lake activity, bringing these into relation with internal bodily rhythms such as heartbeat and circulation.

Environmental and bodily sound were not treated as separate sources. Through an analogue system, they entered the same circuit. Sound gathered, folded, and returned without hierarchy, softening the distinction between interior and exterior through proximity and attention.

The sculpture functioned as a listening prosthesis. Participants approached, leaned in, and brought their bodies close to the listening horns. Sound was encountered through nearness rather than projection. The experience remained quiet, spatial and bodily, shaped by weather, movement and the changing conditions of the site.

Sound moved through water, air, trees, ground and body without a fixed origin. Rather than carrying information from one point to another, it circulated across the field, allowing listeners to sense vibration as something already present and shared across living and non-living systems.

This work extends an earlier sculptural piece made in 2018, This is the sound of me loving you. In that work, clay was shaped slowly around the artist’s hand through fingertip pressure, impressed with the intention of holding a hand with care. When held to the ear, the form functions as a resonance chamber, carrying internal bodily sound alongside the imprint of its making. The Floating Land work expanded this intimate scale outward, allowing the lake itself to operate as a resonant body.

Across both works, sound is approached as relation rather than signal, and material as something that holds memory through contact. The human body operates here as one conductor among many within a wider acoustic field. Listening becomes a way of entering relation through shared vibration.