The Faux Shaux

Upon experiencing new video content against the Acconci wall, it became obvious that the two dimensional patterns we projected onto a curved surface did not flatter the shape. The somewhat dense pattern visually flattened the architectural features (maybe if the weave had more negative space).

Our last visit to the Bronx Museum revealed an important constraint – projection edges. Rectangular edges of a light source on the wall proved the its greatest disservice.

Spandex

Overview:
Our first proposal is content that convinces the eye that the wall is not fully rigid. The wall itself maybe be solid but with visuals becomes elastic. It can now express emotions unlike the other pieces of the building. It can use gesture in the attempt to feed its lust for attention. Maybe it becomes dormant on a dreary day. Maybe it becomes violent when its environment becomes too noisy. Different areas of the wall could have specific behavior.

Inspiration:
Researching visual art for inspiration Angela showed me the work of a collective AntiVJ. They use a technique called “projector mapping” in which the artist projects onto a three dimensional surface. These artists use the projectors to throw shadows and highlights to give the impression that the physical surface is changing, moving, breaking, etc. The ‘mapping’ label is due to the masking of architectural features to virtual 3D space in the rendering software.

ANTI VJ:

AntiVJ & Crea Composite: Nuit Blanche Bruxelles from AntiVJ on Vimeo.

AntiVJ is a visual label from AntiVJ on Vimeo.

But how could this concept of using shadow and highlights be applied to the corean wall?

Taylor proved that natural samples (real footage) worked much better as source material than algorithms. The images that were successful were not too literal. What I mean to say is the subject cannot detract from the wall.

Spandex Excerpt:

Site Specific | Sculpture Video #2 from Angela Chen on Vimeo.

More photos from the shoot.

Production details:
We built a 2.5′ x 5.5′ frame from PVC and stretched a length of white spandex across. Angela sewed the material to itself, creating sleeves around the edges. Stark side lighting was used to throw shadow of desirable size and diffused fill light to regulate shadow contrast. Filmed with a DV camera.

Vertical content is something we also wanted to address. There is a great visual sensation watching imagery appear or disappear from the crevices of the architecture. I imagine anthropomorphic visuals shifting in and out of its spaces. Imagine: eels, tendrils, smoke, ink or oil.

Some footage exploring the crevices thus far:

Ink Exerpt:

Site Specific | Body Sculpture Exploration Video #1 from Angela Chen on Vimeo.

Production details: India ink dropped into water. Filmed with a high-speed camera (hence the grainier quality).

Hair

Production details: Angela’s hair in water. Also filmed with high speed, at two speeds 210 fps & 420 fps.

Vito’s vision for content parallels the process of working with the corean. Stretching, deforming, pulling, tearing, perforating, and other forms of augmentation.