At catholic primary school one of the sisters asked William Furlong's class to close their eyes and listen very carefully. The sounds that he heard surprised him, and it became clear to him that we never, or at least rarely, live in complete silence. This example is offered, not to suggest that Furlong immediately became an artist who uses sound as part of his repertoire, but to describe an experience that remained with him and informed his practice. Walls of Sound is not only visual, but also auditory. William Furlong uses stainless steel, digital discs and amplifiers as well as the sounds that he recorded at Cass Sculpture Foundation, along the coast and in other Sussex locations. However, like many works of art, it is not so simple: it is more than just an assemblage of audio and visual materials. Two hollow stainless steel walls run parallel to one another for just over twelve metres, and along their length are positioned sound outlets, staggered so that they do not face one another. The surface of the steel is worked to a degree that it both reflects and absorbs the landscape, becoming part of it visually and aurally. As you move through this audio corridor you are met by different sounds, which reflect the general environs where the sculpture is placed. Furlong uses sound as a flexible, malleable material, much like how a painter or sculptor uses paint or clay to create impressions of the world.