The Anne Hamiton exhibition at the Armory was like been transported into a living dream. The installation ‘ The event of a thread’ transformed the interior space of the Armouries halls to create an integrated, interactive experience that referenced the buildings architecture. The installation created an immersive environment that multisensory experience, utilizing lighting, sound, live readings, performance and visitor interaction. The piece encouraged participants to interact with the installation and experience the singular and collective body.
The installation was centered around a giant white silky curtain that was lifted 1meter of the ground to divide the space. The curtain was connected to more then 20 double width wooden swings suspended from the rafters by giant chains on either side of the divide. Each swing was set up in a pair, so that there combined motion would effect the curtains movement. On the swing you could feel the push and pull from your connected partner, but rarely see them.
The lighting of the space was immaculate. It was projected from very high up, so that the source was hard to pinpoint. The effect of this was that the floor looked to be magically illuminated. The lighting highlights the swings location with perfect rectangles and illuminated the typewriting stations at either end of the hall with giant spotlights. The white curtain was lit seamlessly to help emphasize its movement. There was a circular mirror located at the far station, which was connected to one of the swings. When it swung in a certain direction it would reflect a specific beam of light, back over the installation.
Following on from our group meeting yesterday, Chris and I went and experimented with the effects that could be achieved with lighting on the material, and aimed to document out experiences.
We discovered that what we believe to be the most interesting effect of the material is the sudden change between transparency and reflection and the interaction between people and this medium. The really exciting and surprising part of our experiments occured when our faces would line up and it would suddenly flick from my face to chris’s .
We tested sticking the adhesive directly onto the glass and discovered that it created alot of bubbles. It would be very difficult to get rid of the bubble. So our suggestion would be to either go with them ( they kind of look like water) or not adhere the film to the glass. The bubble create covex and concave reflections and you get multiple little versions of yourself, which is cool – if thats what we are going for.
We believe that the effect of the mirrored wall is enough to encourage close interaction, but we will definitely have t consider how to place the lighting mechanics so that it is not clumsy. Also there were discussions yesterday about placing the curtains for the gallery , between the pillars outside the gallery to control light and hide the toilets and exit from the reflection.
We hope you enjoy the videos and much as we do ! We had alot of fun playing with the effects!
experiment 1 – face change
The Joshua light show was a psychedelic manually produced light show that was produced on a flat screen behind the performers. It was originally made by Joshua white in the late 1960’s and the early 1970’s. The multilayer projection, uses a variety of manual techniques, such as dripping dies into water and rotating colored glass tubes to create the spectacular effects. Today’s show takes 10 projectionists to operate it – they all act from behind the screen and are concealed from the audience. The screen is lifted momentarily towards the end of the show to reveal the machines and the projectionists.
Terry Riley is a renowned American composer who is generally associated as been a pioneer of the minimalist movement. The music he chose to play for the Joshua light show was anything but minimalist. He had tailored his selection of songs to be appropriate for the projections. The music which he performed with his son was multilayer, combination of both syntheses, classical guitar, piano and vocals. I had not expected to here him sing, and in some ways I wish he didn’t. His music was incredible but challenging at time. He played a song called ‘trash aliens’ and that’s what it sounded like.
The show utilized innovative techniques at the time. It creates effects that would be near impossible to recreate digitally. It has a level of depth to it that is not possible with flat digital screens. The depth of the visuals creates a hypnotic effect if your eye holds focus to a spot midway through both the projections.
I found the visuals varied, although still all maintain to a similar brightly saturated, liquid, psychedelic style. The speed, color, rhythm, depth and projection techniques changed throughout the set and were matched perfectly to the feeling and rhythm of the music Terry Riley was playing. Some songs became quite psychotic and challenging aurally and in keeping with this experience the visual would also build up to a rapid point of explosion.
The entire experience could be likened to an acid trip. I felt like I was taken on a journey that was outside of myself and when I came back down and was spat out into the New York streetscape, the city seemed dull by comparison.
Kumi Yamashita – Japanese born, New York-based artist . Yamashita states: ‘I take objects and carve and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow)’.
Antonin Fourneau – wall of LED lights that are activated by water ,
chunky moves mortal engine – Interactive System Designer Frieder Weiss, Laser performance Robin Fox,
“Five Minutes of Pure Sculpture.” was recently exhibited at the Hamburger Bahnhoff in Berlin. His light sculptures were displayed in the central hall, a long, wide gallery capped by gothic arches. The space was entirely blacked out and filled with a delicate misting of smoke that was illuminated from single points with slowly moving walls of light. creating conical towers.