Upon entering the building, through a small foyer and into a larger reception space, a large black grand piano sits to left and to the right, a smaller red harpsichord. The sheet music set upon each is blank of notes or words on the left, while the sheet on the right holds a poem of line fragments adapted from translations of Song Dynasty ci poems by Shangyang Fang, (Study of Sorrow: Translations). Ci poems were originally composed to musical phrasing of folk songs and were often sung. In sampling Fang’s English language translations, a new sequence emerges. This poem sits on the grand piano. The new composition translated back into classical Chinese form sits on the harpsichord. While the keys to the instruments are silent, the poem spoken in Cantonese can be heard inside the theater, elicited from revolving speakers on stage.

The three turning horn speakers slowly raise and lower. Their sound, like fog, fills the theater with an ambient sound of bowed strings and spoken and whistled vocals calling to an invisible, far shore.

Displayed in the theatre are Chinese folk Buddha statue collections from artist Zhang Xiao, which have either been scanned or printed into images or enlarged and carved into wooden sculptures.