Transcripts of interviews

I think when there’s rain there’s going to be a lot more sound. But if you think, when there’s no foliage or no wind, and how the sound is going to change in winter. We were thinking of coming and seeing what happened when the seasons changed. It will look amazing.

I was expecting it to rain today, and so having the pond there is really great so that you can hear what’s going on without having the natural elements playing. It’s a wonderful piece though – really enjoyable. I think that having the loudspeaker type intervention is great in the forest – it works well. At the moment I’m taking it in I suppose, and listening through the ear pieces which is fascinating too. So you can hear enough without them, but it’s great to hear it. A see-through cover would be really interesting. It’s a bit mysterious at the moment, and I was hoping to be able to see what gubbins are involved.

We need to do more universal listening.

You need to use your imagination. It has an ancestral feeling – you feel when you listen as if the earth, or mother earth, is speaking to you in some way and that touches really everyone that listens to it. Touches the soul in quite a deep way I think.

I suppose I thought it was about the elements really, it’s about the earth and the water and the air and the metal of the chimes. And so you just couldn’t stop listening really, and one wanted to listen and listen as it was always changing and beautiful.

It reminds me very much of church bells in Italy; it really reminds me of being in Venice. It’s just wonderful, and totally magical. I’d love to come back when nobody is around, and when it’s raining, and in different seasons. I’ve really enjoyed it, and I’m really pleased to see that it’s popular – long may it live.