Noise explores the state of information overload, anxiety, and fragmented memory in times of constant danger.

During air raid alerts, people seek spaces that can offer even the slightest sense of protection. The bathroom, the “two-wall rule,” and familiar safety instructions may reduce physical risk, yet they do not ease psychological tension. Even in relative safety, one continues to live in anticipation of the unknown.

At the centre of the installation is a white bathtub filled with spiky massage balls. Visitors are invited to sit inside and physically experience a sensation commonly described as “sitting on pins and needles.” Above the bathtub, an animated film unfolds as a stream of fragmented images and memories: a picnic, a drunken encounter with a loved one in a café, elderly women chatting on a bench, a kitchen still life, a strange dream, one’s reflection in a mirror.

These scenes do not follow a linear narrative. They emerge intuitively, like sudden flashes of memory that surface during moments of intense stress. In states of fear, the mind begins to rapidly flip through experiences, clinging to the most ordinary, tender, or inexplicable moments of life.

The blue and grey tones of the animation evoke a sense of subdued calmness and acceptance of circumstances as they are. Yet this calm remains fragile and temporary.

Noise reflects on the coexistence of fear and everyday life, on the attempt to hold oneself together amid the noise of news, sirens, intrusive thoughts, and memory itself. The work invites viewers into an experience where the body longs for safety while the mind continues its restless movement between the past, the present, and imagined futures.