Through hydrophone, contact microphone and binaural field recordings Nichols traced the local Kifissia river path and intersecting metro line and navigated the topography of the ancient city’s aqueducts and archaeological parks. Her situated listening practice also extended into explorations of vocal resonance inside Yellow Brick’s interior architecture, in collaboration with theatre artist Kestrel Farin Leah. Yellow Brick Variations weaves these recordings together, creating a dialogue between phonic and topographical vibrations.

This new two-channel sound installation whispered and rang into the corners of the gallery in metallic tones and traversed the space in hums via its fluted polymer partitions. Nichols invited visitors to attune to this tactile sonic space at dusk, creating interactions with the shifting light that casts into the gallery through its glazed walls. LED torches subtly vibrated beams across the space through a magnetic connection with resonant objects, creating an interplay with the incandescent streetlights which flooded rhythmic gridlines onto the gallery’s walls, floors and ceilings.