1500mm x 1000mm4mm pitch LED panels, custom timber easels, software
Impressions intersperses five ‘canvases’ on easels between the garden beds and floral artistry of the Royal Botanic Garden, Sydney as part of VIVID Sydney 2018.
Each canvas is actually a high-resolution LED panel, which shows time-lapse images of the Garden taken over the course of a day.
Glowing, moving and continuously changing, these ‘paintings’ are inspired by the art of the 19th century Impressionists and their focus on the accurate depiction of light and its differing qualities.
Today, capturing the passage of time, movement and light has become ubiquitous through cameras, state-of-the-art recording technology and our screen-based culture.
The beauty of this work is that it combines the intent of the great Impressionist artists with the freedoms afforded by new artistic formats. By taking the paintings off the walls of galleries Impressions allows us to look at nature in a new light.
Emberis an immersive installation that evokes an awareness of natural ephemera and the cycles of growth and renewal that surround us every day.
Created by Lumiforms, the installation was installed as part of Parco Techni at the iconic Cathy Freeman Park in Sydney Olympic Park. Twenty upright timber nodes, blackened by charcoal using an ancient Japanese technique known as ‘Shou Sugi’, evoke the feeling of wandering through an Australian bushland environment. At night, pulsing lights emanate from the centre of each node: a semi-translucent cube that has been individually cast from the charred timber itself to create the illusion of a glowing ember. Arranged in an organic undulating form, the nodes offer a guiding light for people as the flickering light appears to jump between them.
Combining the old and the new, Ember seeks to rekindle our connection to Australia’s unique natural environment.
Focus seeks to create a sensory haven in which seemingly disparate visual and sonic information is aligned to create a holistic experience.
The work consists of ten Perspex lightboxes brought to life by addressable LEDs, which can be individually set to specific colours, enabling endless colour combinations. Seemingly scattered at random, the light objects unify to form a perfect square when seen from the correct perspective.
Visitors interact with the installation through simple hand movements picked up by an infrared motion sensor, enabling them to become the conductors of an elaborate visual soundscape. Complex software generates music in real time according to the position of a participant’s hand over the infrared platform. The timbre of the sound corresponds seamlessly with the hue of each lightbox.
Focus encourages each of us to see the bigger picture and move toward a holistic perceptual understanding of the world around us.
Chromesthesia is an immersive installation that encourages participants to experience the convergence of sound and light, based on a neurological condition called chromesthesia — which causes those affected to involuntarily correlate sounds with an experience of colour.
Although incidence of the condition is extremely rare a remarkable number of artists are or were chromesthesic — among them: Vincent Van Gogh, Wassily Kandinksy and David Hockney as well as musicians Leonard Bernstein and Duke Ellington.
Participants enter a shipping container where they are immersed in bands of colour that correspond to a particular sound frequency emanating from the speakers — as an example, when the viewer is standing in the blue 'band' of light, they will hear a ‘C’ note.
This reinforces the idea that colour, light, sound and our perceptions are nuanced and subjective.
The highly directional nature of the speakers lining the container mean that multiple sounds can be heard in isolation within a small space: yet as the viewer journeys from one end to the other they can create melodies as the colours blur into one.
Chromesthesia uses sound and light to draw parallels between seemingly separate phenomena, broadening our understanding of how we perceive and gather information from our senses and move toward a more holistic perceptual experience of the world around us.
Attune, exhibited as part of VIVID Sydney 2016, is an interactive light garden that encourages all of us to listen to the sounds in our environment as well as the sounds we make ourselves. The installation features a cluster of large crystalline forms that appear to grow from the ground; each ‘crystal’ is highly reactive and pulses with colour and light in response to the voices and conversations of visitors.
The crystal forms of the sculptures are constructed from iridescent, translucent fibreglass with light sources and speakers located within. Light is evenly diffused through the surface of the crystalline shapes, illuminating the surrounding areas and visitors. Voices and ambient sound are captured by a series of microphones that vary in height and are interspersed between the sculptures at strategic points.
Visitors interact with the installation by speaking into the microphones or tapping on the surface of the crystals. The speakers play back snippets of their speech, while advanced audio technology forms hauntingly beautiful melodies.
The lights embedded in each sculpture synchronise with the ambient acoustic environment, and produce vibrant displays when touched or spoken to.
When visitors interact with each crystal form, the result is a playful symphony of sound and light. As they move on and their voices diminish, the sculptures return to a resting state. The crystals, however, retain the cumulative colours of past interactions, preserving the memories of multiple voices through the medium of light.
Robotanic reminds us that in a world dominated by technology we should still take the time to tune our senses to nature. The interactive installation replicates the experience of a botanical garden and invites the audience to wander through and reconnect with the essence of the natural world.
The garden contains a series of organically shaped nodes with plant-like characteristics; they vary in height and shape and, anchored at their bases, appear to grow from the ground. When touched, the nodes produce an erratic display of light, and motion-sensors trigger sounds associated with nature, as if the environment is coming to life.
Filament is a light work consisting of repurposed air ventilation tubing and LED’s. It was displayed in Sydneys Oxford Art Factory as part of the Cube art program. The lights within the filament reacted to sound produced by musicians during live performances.
Beneath Our Feet
Artists: Harry Hock and Jonathon Bolitho
Exhibited for 'Sculpture at Scenic World 2016' (Blue Mountains)
Tensegrity is a structural principle based on the use of isolated components inside a net of continuous tension. This principle is evident in the natural world and present in many biological and organic lifeforms. The structure is able to naturally disperse the stress placed upon it across each individual element: like an ecosystem, the structure as a whole relies on its constituent parts.
In ‘Beneath Our Feet’, this synergistic method of construction is utilised to parallel the interconnectedness of a rainforest. Elastic strands connect the found sticks in a unified symmetrical shape, while the found sticks are repurposed and given new life, mimicking both the physical structure and function of microorganisms beneath the forest floor. Over time the sculpture itself, composed of organic materials, will decompose and assimilate into the natural landscape.