In Iceland's rough and remote Westfjords region, Chad Sayers, Forrest Coots, and Chad Manley step back in time to revisit a way of life that lasted 1000 years. With the guidance of local friends Siggi Jonsson and Runar Karlsson, they traverse the storied landscape via sailboat, kayak, and ski, exploring what it would have been like to survive there for so many generations. Each ski run begins and ends with seaweed underfoot, while waterfalls, lichen-clad couloirs, and stories of humans past make up the in-between.
Presented by Arcteryx.com & The GORE-TEX® Brand
Director/Producer: Jordan Manley
Story editors: Chad Manley & Daniel Irvine
Translator: Asi Bjornsson
Narrator: Chad Sayers
Many, many thanks to:
Runar Karlsson & Sigurður Jónsson / boreaadventures.com/
Gústaf Gústafsson / Westfjords Tourism
Líney Arnórsdóttir / Visit Iceland
Anna Kristin Asbjornsdottir
Gunnar Karl Gudmundsson
"Dresden Girls" & "Fell Through Mirrors" by Sonogram
"Scathe" by Reid Willis
"Aurau" by Rob Bridgett
"Here Before" by Fever Ray
Voices: "Ferskeytlan" by Margret Hjalmarsdottir/Raddir
A hemisphere of 5,500 white blocks occupies the air, each hanging from above in a pattern which repeats in order and disorder. Pixels play over the physical blocks as an emulsion of digital light within the physical space, producing a habitat for digital forms to exist in our world.
A group of external projectors penetrate the volume of cubes with pixel-rays, until every single one of the cubes becomes coated with pixels. By scanning with structured light, each pixel receives a set of known information, such as its absolute 3d position within the volume, and the identity of the block that it lives on.
The spectator is invited to study a boundary line between the digital and natural worlds, to see the limitations of how the 2 spaces co-exist. The aesthetic engine spans these digital and physical realms. Volumetric imagery is generated digitally as a cloud of discontinuous surfaces, which are then applied through the video projectors onto the polymer blocks. By rendering figurations of imaginary digital forms into the limiting error-driven physical system, the system acts as an agency of abstraction by redefining and grading the intentions of imaginary forms through its own vocabulary.
The flow of light in the installation creates visual mass. The spectator's balance is shifted by this visceral movement causing a kinaesthetic reaction. For digital to exist in the real world, it must suffer its rules, and gain its possibilities. The sparse physical nature of the installation allows for the digital form to create a continuous manifold within the space across the discreet blocks, whilst also passing through each block as a continuous pocket of physical space.
The polymer blocks are engineered for both diffusive/translucent properties and to have a reflective/projectable response to the pixel-rays. This way a block can act as a site for illumination or for imagery.
The incomplete form of the hemisphere becomes extinct at its base, but extends through a reflection below, and therein becomes complete. It takes inspiration from nature, whilst becoming an artefact of technology.
Permanently installed in Nakdong river cultural centre gallery in Busan, Republic of Korea.