Vertical cylinder of metal is covered with faux fur and pressure sensors. Numerous images of "icon of hands for digital tools" are projected to floor from ceiling, and rotating around this cylinder. Cylinder has a door, so that visitor who stepped inside with headphones.
The other visitor touch and hug this cylinder from the outside, "icon of hands" are rotating by pressure sensors, and finally hands are gathering to screen on the top of the cylinder.
When "icon of hands" approach center, the audience inside will hear the sound of explosion with vibration by headphones.
Despite the experience in real space, this indirect embrace represent "spatial metaphor" for media communication.
The audience will control "icon of hands" and give virtual hug by using whole body. Paradoxically, the audience will re-experienced sense of body which is lost when communicate with others far off by media technology.
The final images of this artwork is desire, delusion, appetite for communication which will come to audience's mind.
This interactive installation was inpired by Edgar Allan Poe’s “A Descent into the Maelström” which is an short story about the man and whirlpool.
The media analyst Marshall McLuhan used this story as a metaphor for how we can survive from big whirlpool of media information.