It is said that during the Middle Ages, night watchmen carried bells as spiritual weapons to ward off entities lurking in the darkness. At the time, metallic sounds not only protected the living but also guided the souls of the dead to the afterlife. That is why, to this day, bells continue to ring in churches: they warn evil spirits that they are unwelcome and summon the souls seeking redemption.

But metallic sounds are not the only ones marking the boundary between this world and the next. Infrasound has long been studied for its mysterious connection to the spectral. Could sound itself be the veil separating our reality from that of the spirits?

Hildegard von Bingen once said that sounds are the outline of the sky. So, what role do infrasound and metallic resonances play in that threshold between dimensions?

This work features a subwoofer emitting infrasound frequencies that, in turn, alter the flames of lit candles—revealing what normally remains unseen: the invisible pulse of sound in the air. The purple candles, symbols of the passage between worlds, respond with movements that range from frantic to nearly imperceptible. Sound becomes presence, and light translates into flickers that persist in the liminal space shaped by the work. To immerse the spectator in contemplation, a sustained drone—created from the resonance of a bell—completes the sonic spectrum of the piece.

It is an invocation: a threshold where the material and immaterial intertwine, and where the void between worlds takes form as vibration.