Arrayed like a chorus of witnesses, the polished heads flank a monumental ear that becomes the work’s quiet axis—an emblem of receptivity set against a room that feels suddenly too loud. The cool, industrial wire pedestals suspend these figures in a state between broadcast and display, while the saturated colors read as emotional registers: calm, neutrality, insistence, and alarm. Light skims the glossy surfaces to exaggerate mouths and auricles, turning listening and speaking into sculpted acts of power and vulnerability. In this staged assembly, the piece proposes communication as a public performance—where attention is rare, and being heard is both desire and contest.