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This installation gathers eighteen pieces, songs, speeches, poems, into one small room. Four channels run simultaneously, so no single voice ever stands alone: they cross, compete, harmonize, interrupt. Between some of them, brief moments of quiet open up, pauses that are as deliberate as anything spoken or sung. And within that quiet, another voice persists: birdsong, chirping in and out, indifferent to anniversaries, holding the room the way it would hold any room. What you hear, and what you hear in the silence, depends on where you stand.
The occasion is the 250th anniversary of the United States. But this is not a soundtrack to a single story of that anniversary, it is a soundtrack to the moment of it, to standing inside a quarter-millennium and hearing what's actually being said, by whom, in how many forms and registers at once. Folk song sits beside protest chant, gospel beside elegy, a poem beside a speech, a bird beside all of it, a register that was here before the country and will be here after it.
The voices span generations and intentions, made to commemorate, to mourn, to refuse, and everything between, speaking to the complex of emotions this anniversary actually holds, not the simpler one we're handed. The list is not definitive and was never meant to be. Eighteen pieces is a fraction, a personal selection, incomplete by design and open to revision, the way any honest account of a country's anniversary should remain open. This is a soundtrack still being made.
The room itself is part of the piece. A jail is a place built to hold people and to decide, on the country's behalf, who belongs where. To fill it instead with overlapping voices, speech, song, silence, birdsong, that could not be contained by a single channel, let alone a single cell, is its own kind of statement, made without a word of didactic text.
Stand still here. Let the channels overlap. You will not hear all eighteen voices clearly at once, and you will not hear all of the silences either. That is the point. No one ever has.