“MESH,” which Hill describes as a sculpture, consisted of a four-channel video piece, 20 channels of sound output, and wall-hanging constructions of wire grids. The video and audio took real-time input. Two recording cameras monitor viewers, displaying their faces in pixelated patterns of squares, while recorders pick up sound, played with a high degree of electronic noise and screeches. The speakers were mounted behind the wire grids. As the three parts played on the notion of the mesh, the resultant effect produced texture both within the audio, video, and sculptural components, and in their layering with each other to create a multisensory perceptual state.