In 2012, Moment Factory famously projection-mapped beautiful psychedelic visuals onto the exterior of Barcelona’s iconic Antoni Gaudí-designed Sagrada Familia cathedral. In much higher latitudes in northeast Norway, the smaller Svelvik Church got some projection mapping of its own in Ascent/Descent. Created by Ove Alexander Jamt Dahl, AKA Bazarove, Ascent/Descent was made by mapping the Svelvik Church’s interior, and projecting mesmerizing patterns of lines throughout its various nooks and crannies.
Dahl’s projection was staged on November 28, 2015. He just published a video of his project to share it with the wider world, which can be seen below.
Created for the inaugural ‘Day for Night festival’ by NYC based Vincent Houzé, Stephen Baker and David Bianciardi (AV&C), Lull is an immersive and contemplative installation that explores the liminal state between conscious and unconscious. In the center of an unlit 6,000-square-foot warehouse, waves of projected liquid light undulate across the walls of a semitransparent triangular structure.
Simple rules shape this ever-evolving animation, combining organic abstracted patterns with complex behavior that teeter between order and chaos. Immersed in layers of distant melodies that reverberate in sync with the surging fluid, as well as in a dense plume of fog that extends and blurs the light within, visitors dip in and out of the sculpture as if in a dream.
Created using TouchDesigner, Ableton Live, volumetric scrim structure, projectors and fog.
Image by Etienne Frossard, courtesy of Smack Mellon
The world around us is a space of various geometries—of symmetries and asymmetries alike. The artist Christine Sciulli, whose primary medium is projected light, is interested in such geometries of life, but also in creating public interventions that invite passersby to “become the makers,” as she says.
Sciulli’s latest work is ROIL, a solo show featuring a large immersive piece in the raw industrial main gallery at Brooklyn non-profit art institution, Smack Mellon. Visitors are invited to walk “through, around, and within” ROIL to experience it.
“It is ethereal but in essence purely geometry—8-channel HD projections of expanding and contracting circles into a site-specific installation of 2,000 yards of tulle, 35′ high by 55′ long by 28′ wide,” Sciulli explains. “The videos are made in Apple Motion and are made, not auto-generated—circles expand, contract, overlap, overlay, pop in, fade out, get dense and fall away,” she says. “I laid a structure of mason’s cord throughout the gallery to slice the space from bottom to top and front to back, attaching to columns via ratchet straps and these amazing triangular D rings. Up high at 35′ we strapped to water mains. I used the 2,000 yards of white tulle and about 2,700 safety pins to gather and form the network.”
Check out ROIL in action in the images and video documentation below:
Image by Tycho Burwell, courtesy of Smack Mellon
Courtesy of the artist
ROIL runs through February 21 at Smack Mellon. Click here to check out more of Christine Sciulli’s work.
Created by Gabriel Pulecio, Saturn Submerged is part of an ongoing series of ‘infinity boxes’ that create expanding space within themselves. The sculpture is composed of multiple mirrored surfaces and LEDs, which are fused to create the illusion of infinite depth and imagery. Mirrors include convex domes and walls; LEDs are programmed to continuously change in randomized combinations of of colours and sequences based on several variables.
The box is continuously generating new patterns based on different variables including day, time, and random noises. Everything runs in realtime through Derivative’s TouchDesigner, using DMX and LEDs.
By day, Virgina-based glass artist Kiva Ford (previously) fabricates one-of-a-kind glass instruments designed for special applications in scientific laboratories. By night, he retires to his home art studio where he utilizes his vast skillset to create curious glass vessels, miniatures, goblets, and other unusual creations working entirely by hand. Ford says his artistic practice is heavily inspired by his interests in mythology, history, and science.
Ford’s artistic observations of the natural world have begun to merge directly with his scientific glassblowing abilities in a number of new hybrid pieces. In Metamorphosis and Metamorphosis II, we see the sequence of a caterpillar morphing into a butterfly and an egg turning into a frog, all seamlessly encapsulated by handmade glass instruments, evoking the mystery of a ship in a bottle.
You can follow more of Ford’s work on Instagram and he sells hundreds of glass objects—mostly miniatures—through his Etsy shop. (via Hi-Fructose)
Created by Félix Luque Sánchez and Iñigo Bilbao, Memory Lane is a sculptural representation and investigation into memory and space by questioning human capacity of generating fiction, either by means of a simple child’s game or of a complex technological process.
Inspired by several locations in the districts of Ribadesella and Llanes, Asturias (Spain), which shape authors’ childhood and youth memories, the installation aims to creates a ‘unit’ of natural elements – sand rock and landscape, by using physical environment of the location as a sculpture mould. The installation explores these two physical elements using a video projection of the scanned location synchronised with a movement of a sand rock. The sand rock was scanned and reproduced in full detail (with the exception of its colour and weight) and floats on top of powerful electromagnets within a structure that shifts horizontally. The noise caused by the magnetic field is enhanced to create a sound environment that wraps both art works in an almost meditative ambience.
The rock sculpture was made using a 5axis CNC milled Epoxy foam and magnets. Its made to levitate with the help of electromagnets, custom mechanical parts, motors, drivers, Arduinos and custom electronics. Video was prepared and data was collected using a Faro Focus 3D Laser Scanner Software in combination with 3d Studio Max.
Additional credits: Damien Gernay (Designer), Vincent Evrard (Arduino programmer), Julien Maire (Mechanical design). A coproduction of “Ministerio de Educación, Cultura y Deporte de España”, “secteur arts numériques, Fédération / Wallonie-Bruxelles” and “Arcadi”; with the support of iMAL (FabLAB).
In most science fiction stories, the future world is designed to be a hardy and geometric place, able to withstand nuclear disaster and protect its inhabitants, who are probably less concerned about the beauty of their surroundings. South Korean artist Lee Bul’s haunting suspended sculptures seem to defy this design sensibility by interpreting future worlds in a beautiful way. In the 1990s, she earned international recognition for her hanging “cyborgs”, some inexplicably without heads or limbs, like Manga-inspired Greek goddesses of antiquity. In those works, she expressed her interest in Western and Asian societies’ fixation with beauty and cosmetic surgery in particular. Over time, her sculptures became more bio-mechanical but also organic, translating the human form into bizarre arrangements of machine parts and tentacle-looking branches. Her more recent work uses elements of science fiction to explore relationships between the future and the past. Her series of chandelier-like floating castles in the air are opulent assemblages of materials like crystal and glass, where she reflects upon utopian architecture of the early 20th century, as well as totalitarianism that reflect her experience of living in military-controlled Korea. Some describe it as if being thrust into a frozen scene, but underneath their beauty, it becomes apparent that these fantastical places are no more welcoming than their space-age counterparts. Lee Bul is currently exhibiting at the Vancouver Art Gallery through January 10th, 2016.
If you party in Brooklyn, chances are you already know a thing or two about RINSED, the roving event that turns warehouses into immersive nightlife, music, and art experiences. Over the past five years, they’ve created pop-up parties ranging from intimate, 100-person soirees, to 1,500-person mega-blowouts, with the help of over 100 different musical and visual artists. In September, they gave us Disruptive Patterns, an “Anti-Fashion Week” event featuring performative installations, live projection mapping, and exclusive playing card invites. Now, to celebrate RINSED’s five-year anniversary, they’re teaming up with New York City-based artist, James Moore, to turn a secret space—a massive disused furniture warehouse in Bushwick—into what they call “a world where technology and humanity merge to form a Singularity.”
What that means: crystal cyborgs, cast from real human faces and skeletons, illuminated and interacting with their environment; a clash of humanity and machine as special guests Dinamo Azari, Jacques Greene, Morgan Geist, Parris Mitchell, and Todd Edwards get down on a Pure Groove Sound System; and more bass-booming basement-vibe madness than you can shake a bionic booty to.
In the video below, premiering exclusively on The Creators Project, watch James Moore create the crystal skulls that will push us into an imagined posthuman cyber dance world for one night, and one night only:
You may have heard of the Catacombs, the innumerable underground rooms and basements, holding approximately six million remains, concealed beneath Paris’ cobblestone streets. One such vestige from millennia of conquerer after conquerer, architect after architect, is Flaq Paris Gallery, where artist Filipe Vilas-Boas has constructed an interactive mini-universe. He projects the sea of digital stars onto the walls of the gallery’s first floor, a renovated crypt centered around a statue of The Virgin Mary holding tiny baby Jesus. And at the center of both statue and star systems, the visitor’s own visage is projected, captured by a camera with a facial recognition algorithm. Now that’s a self-portrait.
The installation is called iDoll, a play on the idol-worshipping that has defined previous generations, and the iPhenomena that have defined our own. “iDoll explores our cult of icons and interactivity as a way to build our identity,” Vilas-Boas tells The Creators Project. Previously he transformed a cathedral into a star-gazing wonderland in an installation called Shooting Thoughts, which turned text messages into gorgeous shooting stars.
Photo: Vincent Doubrère
“As the object of our daily worship, the internet has become our new Bible; new tablets have replaced the old,” the artist continues. “We live in an overconnected world where technology is sanctified, where personal growth happens horizontally more than vertically. We elevate ourselves and seek validation through our peers instead of our predecessors. Thanks to digital photography, selfies have become our modern daily icons. In this algorithmic and interactive self-worship, we build and shape our identities through the pictures we share.”
While some might see the conflation of selfie-ism to idolatry as a criticism of our tech-obssessed culture, Vilas-Boas sees it as just the opposite. “Both installations express the way we live today: interconnected and disintermediated. We don’t need superior authorities to do a lot of things these day. Things happen horizontally… Digital technology gives us means to communicate, exchange with each others. The web connects us and that is a HUGE step for mankind to me. ”
When it comes to generative art or real-time visuals, there’s an intriguing collaborative harmony between humans and machines. One sets the parameters, the other explores them. Berlin-based Margo Kudrina, a fashion designer and art director at motion graphics and VFX company Licht.Pfad, recently achieved that human-machine harmony with an hour-long generative sound-reactive visual set.
Created for the electronic group Nativizm’s show at Night Media Lab in Wrocław on November 20th, Kudrina’s TouchDesigner-created visuals assume a number of forms. Some look like oscillating palm fronds, while others are glimmering contours or latticeworks that look like waveforms. Others take on moiré patterns that almost look like three-dimensional liquids.