In "A Large Inscription", a microphone stand is dragged over a field of gravel; an indispensable instrument of the modern demagogue is knocked over like an overrun statue. Rotating slowly, it leaves behind an evolving elegant trace with no beginning or end.

In contrast to this continuous gesture, "A Great Noise" punctuates the passage of time with a Sisyphean physicality: a microphone encased in a cement block is lifted and dropped, slamming against a larger base. Like mechanically-operated durational performance art, the visceral force evokes tension of the microphone’s inevitable fate, whether that means succumbing to a violent end or breaking free of its shackles.