Whispers Beneath the Pavement: Listening to What Lies Beneath

Nestled quietly in the fabric of London’s urban sprawl, my latest installation, Whispers Beneath the Pavement, invites viewers to pause and listen—really listen—to the stories that have long been buried underfoot. This work resurrects the forgotten rivers of London, once vital arteries of the land, now culverted and silenced by the city’s ambition and industrial growth.

Full view of the Whispers Beneath the Pavement installation. Hidden Rivers are resurrected with the objects left above them.

The installation isn’t merely about lost watercourses. It is about memory, erasure, and the complex relationship between human progress and the natural world. Inspired by the Rights of Nature movement, Whispers Beneath the Pavement positions rivers not just as geographic features and resources, but as living beings deserving recognition and respect. In doing so, it asks: What does it mean to share space with nature, and what do we lose when we sever that connection?

The Creative Process: From Fieldwork to Installation

This project began with a series of purposeful walks above the paths of submerged rivers across London. I walked with curiosity and reverence, gathering fragments—sounds, objects, snippets of conversations, photographic impressions—that echoed the presence of something unseen. These were not random collections but rather intuitive responses to place and memory.

Memories of Found Objects along the watercourses.

What followed was a process of distillation. The installation, situated near the once-full-flowing River Fleet, draws on those gathered elements to create an immersive experience. Found objects and tactile qualities suggest the presence of the past. Sounds of wind waft through the Victorian window, evoking the era of the Industrial Revolution, when rivers were covered and silenced, while the presence of water in the installation invites viewers to touch. The installation encourages viewers to look into the water and perceive the world through the river's perspective, to touch, and to imagine. Every aspect of the work invites the viewer not only to witness history but also to feel it and carry it forward.

Layers of images and memories in water.

Reflection: What Kind of Artist Am I Becoming?

Through this project and others leading up to it, I’ve begun to understand the kind of artist I am becoming. I am drawn to the unseen and the unspoken—stories, ideas, and presences that exist on the periphery. My work seeks to amplify these quieter narratives, not through spectacle but through poetic suggestion, metaphor, and immersive storytelling.

I developed an interest in conceptual and installation art while researching artists such as Cornelia Parker and Joseph Kosuth for my projects. Their work not only challenges perceptions but also invites deep reflection, prompting me to explore hidden and implicit meanings. This exploration shapes the way I visualise complex concepts and emotions. The layers of meaning within their creations inspire me to delve deeper into the interplay between art and interpretation, enriching my artistic perspective.

I have also noticed that my Japanese heritage profoundly influences my sensibility. I often find myself guided by the philosophy of wabi-sabi—an appreciation for transience, imperfection, and subtle beauty. Light and shadow serve as recurring motifs, both visually and metaphorically, as I explore the tension between presence and absence, silence and voice, concealment and revelation. This experience and recognition now drive me to investigate the invisible and implicit aspects of existence.

Furthermore, I have noticed that my practice is becoming increasingly grounded in research, encompassing both intellectual and sensory aspects. It values observation, listening, and careful transformation. In this sense, my installations function as both artworks and sites of quiet resistance, resisting forgetfulness, disconnection, and the erasure of what once was.

Moving Forward

Where does this take me next?

Whispers Beneath the Pavement represents a significant step in my transition from drawing and printmaking to installation art, marking a more defined, professional creative practice. It has confirmed my interest in creating socially and environmentally engaged work—art that prompts reflection, nurtures connection, and inhabits the spaces between disciplines.

Looking ahead, I intend to develop more site-responsive projects, deepen my engagement with both urban and natural environments, and continue exploring how sound, light, and material can become vessels for intangible stories. I also plan to foster collaborations across fields—perhaps with historians, ecologists, or local communities—to broaden the reach and resonance of my work.

In essence, I am becoming an artist who observes first. Who walks, watches, and listens. Who sees value in nuance. Who creates to reconnect. And most importantly, who believes that even the quietest whispers—beneath our streets, beneath our feet—deserve to be heard.