Breath of the Sea utilizes the juxtaposition of essential geometry and visceral experience. Circles, defined by their very specific geometric properties, are projected into an amorphous fabric architectural intervention which raises questions regarding point-of-view and truth-in-perception while creating a quietly chaotic immersive atmosphere.
The Dalhousie Gallery is a 1971 brutalist architectural work designed by Junji Mikawa. The 150 square meter installation space features both cavernous and intimate spaces from 5.6 meters to 2.7 meters high. Integral to the installation experience are (4) large hexagonal viewing portals above the gallery. My fabric and projection intervention interrupts the architecture of the space while interjecting rhythms of the wind and sea of the Atlantic Ocean and tidal force of the Bay of Fundy of Nova Scotia, Canada. As circles of white light swell and ebb across tumbles of hand pinned fabric reaching through the Dalhousie gallery, visitors are invited into sweeping torrents and lingering drifts of the leading edges of radial waves of light.
Hand pinned nylon fabric, 2200 linear meters of 2 meter wide diamond mesh, is installed through the T-shaped installation. Each of the ten videos projected is a unique computer animation of expanding and contracting white circles 1 pixel wide of various speeds. (Full videos for each projector are here: Breath of The Sea, Projection files for each projector .) The videos are of varying length so that when projected, the expansive installation does not repeat in any comprehensible way but reads as an ongoing immersion of lightwaves. The videos of perfect circles are projected onto the fabric environment. There is a perceived transformation of the circles into amorphous curvilinear lines as a result of the projection’s interception by the partially transparent and partially translucent fabric which is attached to the walls and hung from the ceiling using staples and pins.
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