SAFE & SOUND begins with a photo archive, a study of the fences found around graves in several grave yards including Seyed Tafakh and Mahestan cemetery. This research materializes into a statue—a single, reconstructed fence inspired by those of around the houses in urban scenery. Before it, a pond is projected, records of dead insects floating in water.

The journey ends in a separate, white space. Here, a field of beds, loosely enclosed by a mosquito net. This fragile veil marks a personal territory, a space for listening.

The work is completed by the act of lying down. This gesture activates a composition of field recordings from speakers in the pillows. These are sounds from moments of waiting, where the source of a sound was unclear and a feeling of safety was tentative.

A poem connects these elements, serving as a guide:

Safe and sound

In the vast pond
Pressed on the bed
Free from fear
Prepared for the possible suffering

Caution, Before the speed breaker
With the possibility of distance and fall

Girls yell, Is waiting
Boys dug the hole, Is waiting

In the cemetery, I heard the dead
When they were alive,
And the stone
was then empty
from the horror of the accident.

Its “vast pond” is in the projection. Its “bed” is the one you lie upon. Its “waiting” resonates in the sound. The installation is an invitation to occupy this space, to listen from within a fragile shelter, and to contemplate the delicate effort of feeling, as the poem says, “free from fear.”