Divine Orchestra is a sight-specific work that delves into the intricate and perplexing realm of performative hyper-religiosity, where intense religious practices can become disturbances that interfere with other societal functioning. These disturbances can manifest in various ways, such as excessive vocal expressions, physical manifestations, or even certain kinds of vibration pollution. The work sheds light on particular intersections of spirituality, and society.
The installation looks at the notion of worship and the power dynamic that accompanies it, especially through audio presence in public space. What does it mean to have the right to worship, and what impacts certain interpretations of these rights might have on the wider public sphere? Both omnipresent church bells tolling every quarter hour in Germany, and the presence of high-volume loudspeakers in Kenyan protestant churches impose their presence on public space in a way that would likely not be tolerated if produced from non-normative religious contexts. Media, music, and advertising are omnipresent elements used in political and religious propaganda. The Installation proposes that there may be a lot of noise, but little reflection produced by these seemingly disparate phenomena – in both cultural contexts Christian audio pollution producers are conflated and reified in these hybrid objects.
As a Kenyan living in Germany, this project reflects some ontological observations I made between these two countries.

In this hanging installation, I combine visual, material, spatial, and audio elements. This sculptural combination, while exploring serious themes, also contains a comical aspect, since the bells don’t function as expected. St. Michaelis Church Hamburg’s bells were made by Rinker Bell and art foundry, one of the oldest bell foundries in Europe, dating back to the 16th century inspired the sculptural piece.

Kenyan protestant churches i.e. Seventh-day Adventist church (SDA), Power of Jesus Around the World Church, Legio Maria, and Kenya Assemblies of God (KAG) worship sounds are also used. The artwork is spread across the HFBK´s Aula Vorhalle(entrance hall), a grand site that resonates well with the work due to its cathedral-like, sublime atmosphere.