innovation in installation art
PROCESS
Unique technique: spraying colored sand onto different forms of matter in space
METHODOLOGY: the interaction of gesture and color with the physical properties of matter in space.
TECHNIQUE: the process of spraying sand as a specific tool for working with space and matter, designed to reveal their properties and relationships. Includes the use of construction equipment with which spraying is accomplished.
The mechanized brush creates a distance between the hand and the surface, a macro-print of the artist's performance, as evidence of the physical activity of a body that is no longer in the installation space. Similar to eye movement is the ability to encompass large spatial distances with vision.
TECHNIQUE: the process of spraying sand as a specific tool for working with space and matter, designed to reveal their properties and relationships. Includes the use of construction equipment with which spraying is accomplished.
The mechanized brush creates a distance between the hand and the surface, a macro-print of the artist's performance, as evidence of the physical activity of a body that is no longer in the installation space. Similar to eye movement is the ability to encompass large spatial distances with vision.
DISMANTLING: technically this process does not require additional costs for the restoration of the room and the objects inside it, as the sand easily crumbles when it is mechanically impacted.
The temporality of sand as a matter, its visual stability embodied through the brightness of saturated contrasting colors, easily crumbles on contact, exposing a fragile illusion and causing a tension between contemplation and experience, between the visual and the cognitive.
KEY CONCEPTS:
SPACE
- the geometry of space and objects within it dictates the direction of a gesture;
- space has no boundaries, but has within it auxiliary objects related to the social purpose of space: wires, window sills, doorways and other objects and planes. They do not contribute their own meanings and significances, but may have an auxiliary function to the arrangement of matter.
The unique technique allows to cover large areas and objects within spaces, forming an emotional force field for the viewer.
- the geometry of space and objects within it dictates the direction of a gesture;
- space has no boundaries, but has within it auxiliary objects related to the social purpose of space: wires, window sills, doorways and other objects and planes. They do not contribute their own meanings and significances, but may have an auxiliary function to the arrangement of matter.
The unique technique allows to cover large areas and objects within spaces, forming an emotional force field for the viewer.
GESTURE
- a special tool, an action that marks the position and properties of matter in space.
- gestures make up a scenario of actions, defining the logic of the process of creating an installation.
- a special tool, an action that marks the position and properties of matter in space.
- gestures make up a scenario of actions, defining the logic of the process of creating an installation.
COLOR
- marker of scenario of actions, properties and movement of matter in space;
- forms an emotional force field;
- contrasting color combinations create a feeling of life-affirming materiality.
- marker of scenario of actions, properties and movement of matter in space;
- forms an emotional force field;
- contrasting color combinations create a feeling of life-affirming materiality.
MATTER
- foam, polystyrene, polyethylene, fabrics, felt, etc.
- has a variety of textures, shapes and relationships in space;
- physical qualities of matter dictate its natural behavior in space;
- matter is capable of forming its own spaces in space;
- visual effects and mental associations arise when interacting with matter.
- foam, polystyrene, polyethylene, fabrics, felt, etc.
- has a variety of textures, shapes and relationships in space;
- physical qualities of matter dictate its natural behavior in space;
- matter is capable of forming its own spaces in space;
- visual effects and mental associations arise when interacting with matter.
SCENARIO OF ACTION
- a system that defines the logic of the sequence of decisions made: in what space, what gestures, directions, matter, its arrangement, use of color;
- the script defines the key course of the installation's creation.
- a system that defines the logic of the sequence of decisions made: in what space, what gestures, directions, matter, its arrangement, use of color;
- the script defines the key course of the installation's creation.
TIME:
- is sewn into the meanings of the matter (sand) of the technique;
- is an active participant in the action scenario, defining gestures and color combinations;
- has visual markers: stencils and crumbling sand;
- time markers have the potential to visually complete or not complete the action.
- is sewn into the meanings of the matter (sand) of the technique;
- is an active participant in the action scenario, defining gestures and color combinations;
- has visual markers: stencils and crumbling sand;
- time markers have the potential to visually complete or not complete the action.
DEVELOPMENT PROSPECTS
- uniqueness of the technique, which can be applied in completely different spaces: galleries, public, social and natural spaces;
- the possibility of creating multi-system installations with several scenarios of action;
- the same scenario can be applied to different materials, as their unique physical properties influence the final result.
- uniqueness of the technique, which can be applied in completely different spaces: galleries, public, social and natural spaces;
- the possibility of creating multi-system installations with several scenarios of action;
- the same scenario can be applied to different materials, as their unique physical properties influence the final result.