THIS SOUND INSTALLATION WITH 15 HANGING STONES WAS CREATED ON THE COAST OF LIMNOS, NEAR THE VILLAGE WHERE I GREW UP. ITS POINT OF DEPARTURE IS THE RUIN OF A FORMER LIGHTHOUSE, BOMBED DURING THE SECOND WORLD WAR WHILE THE ISLAND WAS UNDER NATIONAL SOCIALIST OCCUPATION. THE STRUCTURE WAS NEVER REBUILT. IT REMAINED AS A DECAYING REMNANT, A BLACK SCAR, AN UNRESOLVED IMPACT IN THE LANDSCAPE.

THE WORK ADDS NOTHING THAT WOULD CALM THE SITE. IT USES ITS OPEN WOUNDS: THE EXPOSED REINFORCEMENT BARS OF THE FOUNDATIONS, THE RUSTED METAL REMAINS, THE DESTROYED SKELETON OF THE LIGHTHOUSE. ROPES WERE TENSIONED INTO THESE REMNANTS; FROM THEM HANG STONES THAT ARE SET IN MOTION SOLELY BY THE WIND. LIMNOS, TRAVERSED BY VIOLENT WINDS, DOES NOT FUNCTION HERE AS A BACKDROP, BUT AS AN ACTIVE AGGRESSOR.

WHEN THE WIND SEIZES THE ROPES, THE STONES ARE LIFTED, DISPLACED, AND FALL BACK ABRUPTLY. THEY CRASH AGAINST THE RUSTED REMAINS OF THE BOMBED LIGHTHOUSE. THE RESULTING SOUND IS NOT SOUND IN A DESIGNERLY SENSE, BUT AN UNTAMED NOISE: IMPACT, TEAR, METALLIC REVERBERATION, A DULL RHYTHM WITHOUT CONSOLATION. THE RUIN IS NOT ILLUSTRATED, BUT REACTIVATED  AS THE ACOUSTIC BODY OF AN UNBURIED WAR.

THE INSTALLATION IS NEITHER RECONSTRUCTION NOR SYMBOLIC OFFERING OF PEACE. IT IS A COUNTER-MEMORY THAT DOES NOT HEAL THE SITE, BUT KEEPS ITS DAMAGE OPEN. THE LIGHTHOUSE IS NOT REBUILT; ITS LOSS IS MADE AUDIBLE MECHANICALLY, REPEATEDLY, AND BRUTALLY. SCULPTURE, INSTRUMENT, AND MEMORIAL COLLAPSE INTO ONE: A WIND-DRIVEN APPARATUS OF THE DEAD, FORCING THE LANDSCAPE TO SPEAK ITS OWN HISTORY OF VIOLENCE  HARD, RESISTANT, UNRECONCILED.