Darrin Martin’s work is informed by what he describes as his hearing differences, including the sudden deafness in his right ear and tinnitus, a condition that manifests as a ghost effect and high-pitched frequencies ringing in his head. In exploring the synesthetic qualities and sensory crossovers of haptic, audible, and visual perception, Martin considers conceptions of accessibility in these sensory registers. In this image, the artist is shown enveloped by a life-sized transparent balloon. His hands reach skyward and are bound by the plastic orb, sensing its softness within an empty room, mysteriously superimposed by a flourishing garden. Part of a video that traces the artist’s search for a backyard sublime, this frame captures him stepping forward as he navigates sound through touch. The video’s score takes shape from Martin’s recital of a poem derived from pop songs that equate love with breath. Performed through an effects amp, verses such as “Oh, love is in the air,” “Sometimes, all I need is the air that I breathe,” and “Love is like oxygen,” resound, reverberate, and echo—filling and emptying space like the air inside a lung. Visit Steel Tongue Accordion Ears, Martin’s soundwork in the forest clearing (site U on the map), to further consider breath in relation to sound and space­­­.