Final Research Document Ma Scenography 2015-2017

‘MULTILAYERED ATMOSPHERES’ [A RESEARCH ABOUT A POSSIBLE MERGE BETWEEN THE CONSCIOUS AND THE UNCONSCIOUS IN SPACE]

MASTER OF FINE ARTS IN SCENOGRAPHY [2015 - 2017] CAMILA CAIZA DUQUE

INDEX [TO THE READER]

IMAGERY OF THE PROCESS FINAL RESEARCH DOCUMENT CHAPTER I: A RESEARCH ON THE PERFORMATIVE POSSIBILITIES OF THE RELATIONSHIP BETWEEN THE SELF AND SPACE 1. FROM A NO - NARRATIVE SPACE TO AN ATMOSPHERIC EVENT 2. ABOUT THE CONNECTION TO SCENOGRAPHY TROUGH A TRANSDISCIPLINARY APPROACH 3. FROM DESIGN PROCESS TO ARTISTIC RESEARCH: WORK AND METHOD

CHAPTER II: REFLECTIONS ON SOME PARADOXES FOUND ON THE WAY 1. PARADOX 2. THE INDIVIDUAL EXPERIENCE VS. THE COLLECTIVE EXPERIENCE 3. MULTILAYERED SPACES: PHYSICAL, PERFORMATIVE AND FILMIC

[WHAT REMAINS] ACKNOWLEDGEMENT BIBLIOGRAPHY

APPENDIX

To the reader:

Before introducing what has been my artistic process for the past two years, I would like to introduce myself. I was born in Quito, Ecuador where I completed my studies in Architecture. While exploring the qualities and relationships of space during my architectural studies, I discovered my interest in how space can become a reflection of a narrative, but also a reflection of life and the human nature itself. With this in mind, and also pursuing an urge to combine the skills required to design a space in architecture with the sensibility of performative arts, I decided to connect my architectural studies with an artistic perspective on space. Therefore, I started the Master in Scenography at the HKU (Hogeschool voor de Kunsten Utrecht).

I began the program with a question regarding the relationship between the introspective world of a human being and how it gets reflected on space. This question got transformed along the way through the making and thinking process into an inquiry about how do the conscious and the unconscious minds can generate an experiential atmosphere? I started the exploration of space through its geometric qualities, but as I went through the process new performative elements came in the way; for example, time, the spectator, a narrative, the performers, etc. These discoveries had a huge impact on my understating of space and how it can get transformed into a reflective experience. Therefore, I consider the documentation of this process as a display of how my perception of space changed from one mostly static to one more performative.

The main purpose of this document is to give an overall view of my artistic process, and for that I have divided it in two main parts. One presenting a visual path that shows the experimental actions taken along the way and reflects the stages of the development of the research through a graphic format.

And the second one, through a text format, that offers a reflective view on how I had been dealing with my artistic questions (practically and theoretically) and how they developed along the process.

These two parts are directly linked by the main question and subject, and they complement each other in order to get a better understanding of the process. However, it is totally up to the reader the way on looking at it, either starting from the visuals and continuing with the text or the other way around.

IMAGERY OF THE PROCESS...

THE OBJECTS [THE MONKEY EXPERIMENT] OCTOBER 2015

'We perceive atmosphere through our emotional sensibility' -Peter Zumthor-

About attaching emotional features to a physical object... my first visual experiment consisted on taking a personal object of an important emotional background with me to everywhere I went during a week, and create a series of pictures through it.

THE OBJECTS [OTHER´S OBJECTS EXPERIMENT] NOVEMBER 2015

'Whenever I feel homesick I always smell it, smells like my mom, smells like my sisters and my unties. (...)

Back home I know that is just women that are attached to it, it makes me feel especial (...)'

About attaching emotional features to a physical object...

During my next experiment i asked some people to share with me the story behind one personal object from their choice. Each story related to each object showed a great emotional attachment and a connection on the awekening of the memories behind them.

TRANSFORMING A CONCEPT INTO SPACE [FROM A THEATER TEXT] DECEMBER 2015

A DELICATE BALANCE

BY EDWARD ALBEE

THE SEAGULL

BY ANTON CHEKHOV

ATTEMPS ON HER LIFE

BY MARTIN CRIMP

SIX CHARACTERS IN SEARCH OF AN AUTHOR BY PIRANDELLO

About translating a narrative into an abstract space...

Within the frame of fiction, I took four theater plays, with quite different characteristics, and by analyzing them, i translated their core reflection into an abstract space represented through an scale model.

TRANSFORMING A CONCEPT INTO SPACE [FROM THE CONCEPT ´AMBIGUITY´] JANUARY 2016

ABOUT DEATH

ABOUT NATURE

ABOUT LOVE

ABOUT THE DUALITY OF HUMAN CONDITION

About translating a concept into an abstract space...

By looking to the concept of 'Ambiguity' as a multiperspective and multi-dimensional quality, I decided to explore the possibilities of these quality in space by making scale models.

Trough the main topics of: Death, Nature, Love and The human condition itself.

ARCHITECTURAL SKINS FEBRUARY 2016

About a possible narrative trough the skin of the space...

That body that both divides and connects our interior world to the exterior that surround us, acts as a filter of thousands of emotions,ideas, thoughts, feelings, fears, etc, but also it remains as a trace of the passage of all this sensations going through us. In the same way, the space acts as an archival of our personal stories. This what can be called 'the architectural skin' is a material reflection of the passage of time and can act as a physical representation of our individual and collective memories.

THE DOORS EXPERIMENT MAY 2016

THE DOORS

THE MEMORIES

Abut a peek into my introspective world...

- VIDEO INSTALLATION - COLAGE OF PRINTED PICTURES FROM A COLLECTION OF DOORS + VIDEO SHOWING EXTRACTS FROM IMAGES COLLECTED IN UTRECHT AND QUITO

THE DOORS EXPERIMENT MAY 2016

THE INSTALLATION

About adding new performative elements -lights + sound + video + SPECTATORS-... important performative elements were added to the process trough the making of this installation such as the acknowledgement of the relevance of guiding someone trough light, sound, visuals or space itself.

THE CITY

[the conscious]

AND

THE DREAMS

[the unconscious] SEPTEMBER 2016

About the study of the conscious and the unconscious in space... the next experiment consisted on analizing how the different layers of consciousness can get connected with space. For this I divided the work in two parts: one connected to my dreams in which i kept a diary with sketches of the emotional and spatial sensations in them and the other part was connected to my conscious side in which I explored the city connecting with the space trough my camera

THE CITY

[the conscious]

+

THE DREAMS

[the unconscious] DECEMBER 2016

ABOUT A POSSIBLE MERGE BETWEEN THE CONSCIOUS AND THE UNCONSCIOUS IN SPACE...

AFTER COLLECTING THE MATERIAL FROM THE CITY AND MY DREAMS, A PROCESS OF VISUAL EXPERIMENTATION BEGAN. USING THE IMAGES COLLECTED BUT ALSO A LIST OF OBJECTS FROM BOTH THE CITY AND THE DREAMS -COLLAGE TECHNIQUE

THE ARCHETYPE EXPERIMENT JANUARY 2017

‘The meeting with oneself is, at first, the meeting with one´s own shadow.

The shadow is a tight passage, a narrow door, whose painful constriction no one is spared who goes down to the deep well.’

-CARL JUNG-

THE DREAM ‘not a mirror’ THE CITY ABOUT ´THE SHADOW´ARCHETYPE IN SPACE After some visual experimentation with the collected material and based on the concept of the shadow archtype by carl Jung I selected one dream and the material from the city connected to it in order to generate an spatial experience.

THE ARCHETYPE EXPERIMENT [INSTALLATION: ´NOT A MIRROR´] FEBRUARY 2017

TRY OUTS ON SPACE

ABOUT ´THE SHADOW´ARCHETYPE IN SPACE DURING THE TRY OUTS I EXPERIMENTED WITH DIFFERENT OBJECTS AND COMPOSITIONS IN ORDER TO GENERATE AN SPECIFIC ATMOSPHERE RELATED TO THE MERGE OF THE IMAGE FROM THE DREAM AND THE VISUALS COLLECTED FROM THE CITY.

THE ARCHETYPE EXPERIMENT [INSTALLATION: ´NOT A MIRROR´] FEBRUARY 2017

TRY OUTS ON SPACE

ABOUT MULTILAYERED ATMOSPHERES SPATIAL LAYERS = PHYSICAL + PERFORMATIVE + FILMIC SPATIAL INSTALLATION ON THE GENERATION OF AN EXPERIENTIAL ATMOSPHERE

MULTILAYERED ATMOSPHERES MAY - JUNE 2017 WHITE CURTAINS THAT ROLL UP AND SHOW WALLS

EXIT

ENTRANCE

THE CITY

separate layers merge

THE DREAMS

INSTALLATION: ´NOT A MIRROR´

white room the the transformed architectural city room into skins room

the dreams room

installation: ´not a mirror´

ABOUT GRADUATION PROJECT A FURTHER RESEARCHED VERSION OF MY PREVIOUS SPATIAL WORK WILL BE DEVELOPED DURING THE SHOWING OF MY GRADUATION PROJECT, PRESENTING THE MAIN ELEMENTS OF A MULTILAYERED ATMOSPHERE.

FINAL RESEARCH DOCUMENT...

Chapter I: A research on the performative possibilities of the relationship be-

reality coming from the same individual and how they can get reflected in space or transform it.

tween the self and space

Thinking about the self and his duality of interior and exterior and how they interact, also triggered my interest in the relationship of the conscious and the unconscious minds coexisting in the same

1. From a no – narrative space to an atmospherical event

being, and how the generated patterns from this connection show themselves in space; furthermore,

how the temporal – spatial perception of space can be altered depending on the mind state, being a “When the architectural-geometric turns into the performative space, its so-called primary

conscious one or one connected to the unconscious. This specific part of the process guided me to

qualities – i.e. its dimension and volume – can be sensed and begin to affect the perceiving sub-

take practical actions in order to analyze my own conscious and unconscious spatial perceptions; for

ject.” (Fischer Lichte, 2008) 1

example: the making of a diary of my own dreams where I emphasized the atmospherical and spatial

elements and; on the other hand, the recollection of an archive of images and videos about the city Coming from an architectural background, the relationship between space and action was always

on my waking hours. This multiplied perception of reality pulled me into thinking about space as a

one of my main inquiries, referring to the different ways in which a space can influence a certain

constellation composed of an infinite number of layers that in terms of a performative character could

event and vice versa. While studying architecture, one of my main concerns was the design

be translated into a space where different sorts of symbolic realities encounter each other, like the

of the space itself, but also what captivated me was to imagine the stories or the narratives that

digital vs. the physical one, the real vs. the fictional, or the theatrical vs. the filmic one; furthermore,

the space could enclose and how these living elements could alter the space itself. Therefore, I

how this experiential space could be presented to an external spectator. Through this thinking

decided to explore the possibilities of space through a performative approach within the frame of

and making process, the main question of my research project developed into how to translate an

Scenography. The first research topic with which I started this exploration was focused on analyzing

experience through a multilayered atmosphere were both unconscious and conscious minds merge?

the dynamics of the feedback relationship between an individual and his or her environment. This

The emergence of this question brought up a series of other questions, and for that reason during the

relationship implies a dual understanding of human beings in which their internal world maintains a

next part I will approach the different concepts connected to this inquiry and how they affected my work.

constant contact with their external environment or atmosphere. As an example of this concern Dr. Rachel Hann, lecturer in Scenography, refers to the artist and architect Frederick Kiesler as having

About multilayered atmospheres and the translation of an experience

the “belief that we share an implicit connection with all that surrounds, encloses and channels us.

‘Correalism’, Kiesler´s term of this tacit interdependency, was essentially ‘the dynamics of continual

“The subject matter…is not that collection of solid, static objects extended in space but the

interaction between man and his natural and technological environments.’”2 This reflection made

life that is lived in the scene that it composes; and so reality is not that external scene but the life

me wonder about the nature of such interaction or connection; would it mean that the interior world

that is lived in it. Reality is things as they are.” (Wallace Stevens)3

of a being gets its direct translation on the being´s external construction of his own surroundings, or would it be possible that the information of this inner world would get transformed into something

Within the framework of this quote, I would like to introduce my approach to the concept of

partly or completely different in the outer world? The possibilities on this matter seem to be

atmospheres, which I consider essential to my practical and theoretical research. As Wallace Stevens

infinite, but what interested me mostly about this subject was the idea of multiple perceptions of

stated, reality is not necessarily composed of the physical elements alone, but also it is present in their interaction and the life or events contained amidst them, in that way this is what generates or

1

The transformative power of performance, Erika Fischer Lichte, 2008, page 116.

2 Blurred Architecture. Duration and performance in the work of Diller Scofidio + Renfro, Rachel Hann, 2012, page 12.

3

The holotropic mind, Stanislav Grof, M.D. with Hal Zina Bennett, Ph.D., 1991, page 2.

constructs ‘reality’. Thus, from a spatial perception, what could be called the sense or notion of the

merging which is defined as “to blend gradually by stages that blur distinctions”6 represents the idea of

life of a place is what could be referred to as an atmosphere. On this matter, Erika Fischer Lichte in

what the space would enclose. In another regard, in order to have a performative character I found

The transformative power of performance refers to the philosopher Gernot Boehme as follows: “he

it important that this reflection could be translated into an experience for an external spectator, even

defines atmospheres as: ‘… spaces insofar as they are tinged by the presence of things, people,

though the starting point of this research is my personal experience. The verb translate means “to

or their surrounding constellations, that is, their ‘ecstasies’. These ecstasies themselves are the

transfer or turn from one set of symbols into another”7 which exactly represents the aim to transform

spheres of presence of something else – their reality in space’ As such, atmospheres appertain to the

my personal experience into a public one. The question of the translation of an experience into an

performative, not the architectural-geometric, space” (Fischer Lichte, 2008). From that point of view,

atmosphere containing a merge of the conscious and the unconscious minds, is also defined by a

what I found compelling about the differentiation between place and atmosphere was that feeling

multi – layered character. The term multi – layered refers mainly to the different approaches being

of ‘spheres of presence’ or the vibe coming from them, and how the space can be transformed and

represented by each of the elements contained in the question. There are three main aspects that

experienced through it. This notion of atmosphere connects the space to a sort of unique or very

the question encloses; first, the multiple time and spatial perspectives that could come from the

specific perception, which could be referred to as the concept of having an experience, since an

same person depending on the state of mind. Second, the translation of a personal experience to a

experience is defined as “something personally encountered, undergone, or lived through’4 or ‘an

collective one. Third, the overlaying of different kinds of spaces which also refers to a multidisciplinary

event or occurrence which leaves an impression on someone.”5 Hence, in that regard the generation

perspective that includes different artistic approaches coming from architecture, performance, film and

of atmospheres is intrinsically connected to the creation of a certain experience, which in the instance

scenography itself, but also from other fields like psychology. In the next part I would like to approach

of spatial art would be directed to a spectator. The atmosphere containing that experience would be

this interdisciplinary sense in order to connect these practices to the development of the research.

in this case the one provoked by the encounter of the conscious and the unconscious minds. At this point, I would like to clarify that when I refer to the conscious and the unconscious I mainly mean the differentiation between the inner unknown world that could be represented by dreams or other kinds

2. About the connection to Scenography through a transdisciplinary approach

of ‘non-ordinary states of mind’ as the psychiatrist Dr. Stan islav Grof called them, and the ordinary state of mind with which people generally function on a daily basis during their ‘waking’ hours. This

As a starting point on connecting the research to the main disciplines that influenced my process, I

is relevant to me mostly as a study of the different layers of perception, specifically on space and the

would like to begin with the basis, which for me was a spatial approach on the frame of architecture.

possible narratives contained in it. In my everyday life I found these two realities being apart from

“A theory of spatial performativity is one that insists on exposing the reciprocal relationship between

each other in a physical and sensorial way, but at the same time sharing the same body and mind.

architecture and its inhabitants where both are active elements…” (Dorita Hannah)8 . As Dr. Dorita Hannah expressed on these previous lines, I also consider that both physical spatial elements and

This study and this perception come from a personal urge; therefore, the material is deeply attached

inhabitants are active elements on the generation of a performative space. Therefore, I found that an

to my personal experience. For that reason, a possible interaction between these two seemingly

understanding on spatial composition was necessary for me to develop the design of any performative

distant worlds, with their own spatial and temporal laws of perception, represents the opportunity

experience. In that way, the architectonical point of view offered me spatial tools which gave me

to discover a new atmosphere that can encompass different reality layers arising new questions and reflections on the diverse perceptions that space can provoke. In that sense the concept of 6 https://www.merriam-webster.com/dictionary/merge 4 https://www.merriam-webster.com/dictionary/experience 5

https://en.oxforddictionaries.com/definition/experience

7 https://www.merriam-webster.com/dictionary/translate 8 Blurred Architecture. Duration and performance in the work of Diller Scofidio + Renfro, Rachel Hann, 2012, page 13.

the possibility to dig deeper into the study of the attributes of space and find out what could be the

be perceived through space?And how can this perception be translated into space through an experience?

expressive opportunities among them. This approach from the physical character of space triggered

The differentiation of these multiple layers of perception on space presented also the possibility

some questions regarding other elements like the narratives contained on it. In connection to those

of a distinction between the physical and the digital world. How would filmic aspects generate an

inquiries, psychological questions were raised, various theories and approaches were explored, such as

atmosphere? The main reference taken at this point was the work of the multi-faceted artist and

the Freudian concept of the unconscious as “the gathering place of forgotten and repressed contents”9

filmmaker, David Lynch. In his book Catching the big fish, he states that “A sense of place is so

; the one from Carl Jung who considered the human psyche as divided in three parts: conscious ego,

critical in cinema, because you want to go into another world. Every story has its own world, and

personal unconscious and collective unconscious; the approach of Stanislav Grof on the ‘exploration

its own feel, and its own mood. So you try to put together all these things – these little details – to

of the value of non-ordinary states of consciousness’10 ; and the theory of ‘Psychomagic’ by Alejandro

create that sense of place.” (David Lynch, 2007)14 This building up of ‘another world with its own

Jodorowsky11 who deals with the language of the unconscious through art and theatrical acts. From

feel and mood’, that Lynch suggested here, gets reflected on his films not only by the usage of

all these different but not so distant theories I decided to take as a reference the one developed

elements like light, sound and the spatial composition, but also and mainly because of the way they

by Carl Gustav Jung. To Jung the conscious ego was “the center of the field of consciousness, the

function together and his skilled means to guide them through a narrative with a central feeling that

part of the psyche where our conscious awareness resides, our sense of identity and existence.”

pushes the spectator into an unknown, mysterious, new universe that blurs the boundaries between

On the other hand, Jung refers to the personal unconscious as “everything of which I know, but

the screen and the audience. The boundaries he manages to blur are not only the ones present

of which I am not at the moment thinking; everything of which I was once conscious but have now

between a film and his observer, but also the dividing line between the dreamlike and waking realities

forgotten; everything perceived by my senses, but not noted by my conscious mind; everything which,

present in his visual and narrative language. For example, in his TV series from 1990, Twin Peaks,

involuntarily and without paying attention to it, I feel, think, remember, want, and do; all the future

“Lynch plays with how we acquire knowledge by subjecting Cooper to an intertwining of the world

things which are taking shape in me and will sometime come to consciousness; all this is the content

of dream and the real world.”15 Cooper is trying to solve the murder of a young woman not only in

of the unconscious. Besides these we must include all more or less intentional repressions of painful

his waking hours but also and with more emphasis during his dream time. This is just one of the

thought and feelings. I call the sum of these contents the ‘personal unconscious.’”12 Regarding the

examples where I could easily notice how Lynch plays with the boundaries of different states of mind

collective unconscious he stated that it is “a part of the unconscious mind incorporating patterns of

connected to the same character in order to generate or build up different perspectives on the same

memories, instincts, and experiences common to all mankind. These patterns are inherited, may

situation. The differentiation between these states of mind is very present in the spatial management,

be arranged into archetypes and are observable through their effects on dreams, behavior, etc.”13

which is clearly visible in the construction of ‘the red room’ as the dreaming space where the time perception was transformed and shown by the slowed down speech from the characters and the

The study of the division that Jung makes regarding the psyche’s layers (conscious ego, individual

backward movements. Lynch´s visual language and his management to create filmic atmospheres

unconscious and collective unconscious) was an important influence on my p rocess as a parallel reflection of

inspired in me the desire to try out the generation of spaces that could also challenge the perception

what can be understood not just as the human psyche layers, but also as the question of how can these layers

of reality through the overlaying of different mediums. The contribution of these fields: architecture - connected to performance -, psychology and film shaped the development of the research, but the field of scenography was acting as an umbrella that encompassed the whole process.

9

The Archetypes and the Collective Unconscious, Carl Jung, 1943, page 6.

10

The holotropic mind, Stanislav Grof, M.D. with Hal Zina Bennett, Ph.D., 1991, page v.

11

Psychomagic, Alejandro Jodorowsky, 2004.

12 http://journalpsyche.org/jungian-model-psyche/

14

Catching the big fish, David Lynch, 2007, page 117.

13

15

The Philosophy of David Lynch, edited by William J. Devlin and Shai Biderman, 2011, page 3.

http://www.thefreedictionary.com/collective+unconscious

3. From design process to artistic research: work and method

somehow I found it really difficult to translate this experiment into a spatial shape, so I started a new phase of experimenting in which my input was coming from theater text narratives. In this work the

One of the recurrent questions in the process was: how should I go from my architectural design

main idea was to transform the core reflection found in the analysis of the play into a designed abstract

method to a process in which I can include more active performative codes? In other words, how

space in the form of scale models. This exercise provided me with new ways of thinking about space

to transform my architectural design perspectiv e into a performative design point of view that can

on the base of a fictional story and raised some new questions regarding spectatorship in terms of

help me reinvent my own preconceptions of space? This process of questioning my ideas began

how these spaces would be experienced and how I, as the designer, would guide this experience.

with one of the main differences that I found between my process as an architect and the one that I

My exploration with the intention to generate atmospherical spaces continued with experiments that

was about to start as a scenographer. In architecture, usually the trigger for a project comes from a

included new series of photography on architectural skins and the continuous work on scale models.

specific assignment with some established conditions, which generates from the beginning a quite

During this part of the research I explored some of the possibilities of space concerning texture, visual

clear organization and structure, while in Scenography I confronted the possibility to start an artistic

narratives and other elements, but I was still missing the connection to my own introspective world;

research coming from what was intriguing me, meaning that the motivation of choosing a research

therefore, this feeling took me back to the starting question of the inner world connected to space. As

path came from a personal urge and questioning. This personal inquiry, as explained before, basically

a way to connect myself with the work, I decided to make videos of my current environment as well as

refers to the perception of space from both a conscious and an unconscious perspective and how this

videos from my native city, and connect both of them in a filmic collage. This collage was presented

would change by merging them. However, this process started with a wider and more basic research

in an installation together with another collage made of pictures of doors, collected by me during my

topic that pointed to the relationship between the inner world of a person and his environment.

life. The collage of doors was the symbolic idea of an entrance to my mind and was also related to

This direction challenged me to begin my process researching the unknown, and how to research

my previous study on architectural skins, and the video represented my inner world connected to both

the unknown. In my case, and in the frame of the study program, it was done by experimenting.

my current environment and my thoughts about my country. I consider this a relevant point of the

According to the dictionary an experiment is “a test, trial, or tentative procedure; an act or operation

process because this experiment allowed me to retake contact with the starting question which later on

for the purpose of discovering something unknown or of testing a principle, supposition, etc.”16 This

connected me to the central idea related to the study of the consciousness layers reflected on space.

concept about experimenting guided the whole process acting as a tool to discover new questions

For this phase of the research I divided the practical work in two main aspects; one related to the

and reflections, more than a concrete result. Parallel to the use of experiments as a method, one main

study of my own unconscious side and the other connected to my current environment or ‘the city’ (the

thought accompanied me during this process: the idea of going from designing structured spaces into

‘conscious’ side). For the study of the unconscious I made a diary with my dreams, and as a physical

generating emotional atmospheres. According to this aim, I needed to find different ways to challenge

connection with my waking side, I went out to random places in the city, where I worked with video and

myself to find different mediums of getting new input for my work. With that in mind, I started with

photography. I used this collected material to generate different collage compositions and spatial scale

building up a series of photography on personal objects, which I began with one of my own, in which

models, also influenced by the theory on the archetypes by Carl Jung. This experimentation with my

the visuals pretended to reflect also the narrative of the stories behind them. These first experiments

dream´s material and the imagery taken from the city, led to different try outs with video installations

contributed to my search of adding performative elements to my designing process by helping me

where the aim was to generate an atmosphere merging the dreaming and the waking hours. These

to realize how an emotional character and a whole story can be attached to a single object, and the

last spatial tests raised even more questions and contradictions about the individual, the collective

potential quality that physical elements have in order to generate a specific feeling in space. However,

experience and the overlaying of different sorts of space (physical, performative, filmic, etc.) which made certain paradoxes visible between those elements. The next chapter approaches those paradoxes.

16 http://www.dictionary.com/browse/experiment

Chapter II: Reflections on some paradoxes found on the way

what I found on this matter was that the analysis on the personal experience was not as relevant, by itself, as the translation of such experience into an atmosphere that could be experienced by a

1. Paradox

spectator, and the reflections that such translation could arise. This personal experience included the exploration of my unconscious side where I looked into the world of my own dreams and as a spatial

This artistic research and its theoretical and practical process had its origin in the emergence of a question.

approach to my conscious side I took my spatial and visual impressions on the city. The general

Such question could be perceived as an apparent problem that could require a solution; however,

idea was to merge both explorations and translate them into an atmospherical experience that could

what I consider more relevant are the possible reflections that could be raised from the development

be presented to any person, which would transform it into an experience directed to a collective.

triggered by that initial inquiry. The fact that my pursuit does not include absolute answers or fixed

That is how I encountered the question of: how to share a personal experience in a collective way?

solutions, implies that the research and the work by themselves pretend to generate more questions that can open up the possibility of enclosing multiple reflections coming from multiple perspectives. In

Personal experiences are already influenced by a series of general and specific aspects; for example,

that sense and contrary to determine a conclusive result, what I found along this research process were

cultural and individual background, personal stories, current and previous living contexts, relationships,

more questions that mostly contained paradoxical reflections. The encounter with those reflections

personal and cultural preconceptions, previous experiences, personal ideologies, etc. It seems like

came from the making process guided by the theoretical notions and the feedback obtained through

every person is constantly carrying his or her own individual world of experiences at the moment of

the try outs with spectators. Before analyzing the main areas that contain such reflections I would like to

going through any new one. Therefore, at the time of translating an individual experience I would

clarify the concept of paradox and where it is connected to my process. From its basic understanding,

be translating a very specific point of view, my unique perspective, but in the moment in which that

a paradox is defined as: “A situation or statement that seems impossible or is difficult to understand

experience is being experienced by someone else, that also carries her own background experiential

because it contains two opposite facts or characteristics.”17 The contradictory or hardly graspable

information, that perspective is already being transformed to her own individual experience on the

duality of my initial topic (the relationship between the inner world and the generated environment of the

one offered by me. In that way, the translated experience will never have the same connotation to

self) and the consequent central subject related to the human psyche and its layers of consciousness,

any spectator and it will be constantly changing. Even though, it will be an individual experience

made the concept of paradox visible from the beginning. Also, this topic connected to the concept of

translated to a collective audience, it will remain an individual experience (in spite of being a different

multiple layers in space, and how they interact, reflects another parallel paradox that will be seen from

one) on the perspective of each spectator. This idea seems to show the concept of experience as,

a spatial perspective. Both situations and their enclosed paradox will be approached in the next lines.

in a way, always being individual, considering that each person would have his own point of view; however, as seen from one of the psychological approaches on this topic, Carl Jung had a different

2. The individual experience vs. the collective experience

understanding on this matter as is shown in his theory of the Collective Unconscious, stating that “A more or less superficial layer of the unconscious is undoubtedly personal. I call it the personal

When I first started the exploration of the different layers of consciousness and how they get reflected

unconscious. But this personal unconscious rests upon a deeper layer, which does not derive from

on space, I took my personal experience as the main reference point and the source of the material

personal experience and is not a personal acquisition but is inborn. This deeper layer I call the collective

collected. This decision encouraged me to ask myself: what would be the value on analyzing a

unconscious.”18 Jung´s theory also states that the collective unconscious is formed by Archetypes

situation from an individual perspective? Although, I did not find a definite answer to this question,

that are “primordial types, that is, with universal images that have existed since the remotes times

17 http://dictionary.cambridge.org/dictionary/english/paradox

18

The Archetypes and the Collective Unconscious, Carl Jung, 1943, page 6.

(…) The archetype is essentially an unconscious content that is altered by becoming conscious and

observation took me back to the idea of an individual experience being unique and influenced by the

by being perceived, and it takes its color from the individual consciousness in which it happens to

personal background and previous experiences. However, there were some elements to which most

appear.”19 According to this theory, the archetypes would represent a symbolic data base where

people felt connected to in a quite homogenous way, probably because of their general symbolic

all humanity´s preconceptions would have their origin based on archaic models that later on each

connotation; for example, objects like a mirror or a mattress. Of course everyone had their own

person interprets (in an unconscious way) with their own life experiences. Meaning that, according

personal ideas on them, but I could notice that the buildup of such connection depended in a great deal

to this theory, every individual experience would have its basis on a collective archive of patterns.

on the atmospherical environment surrounding the object. These tests worked for me as a sample of

After going through the gathering of the material based on my individual experience and with this

the complexity and contradictions that the relationship between collective and individual experiences

theoretical notions in mind, the idea of connecting this material to the concept of the archetypes came

entail. Moreover, they showed me the apparent impossibility of a literal or direct translation of a personal

along as a way to observe the possible reactions of an audience experiencing a space based on one

experience into a collective one, but also it made me reflect on the possibilities of transformation

of my own archetypes. I asked myself if that could build a bridge between me and the spectators or if

that such translation could represent as feedback coming from multiple different experiences on it.

the barrier of the personal background would impose itself? In any case, based on the emotional and sensorial nature of the collected elements (dreams, drawings, images and videos), I decided to use as a reference one of the primordial archetypes and connect it to the design of the space. The process

3. Multilayered spaces: physical, performative and filmic

of observing and analyzing this material made me think about this quote: “The meeting with oneself is, at first, the meeting with one´s own shadow. The shadow is a tight passage, a narrow door, whose

A constructed path (park…structure…nature) – silence –

painful constriction no one is spared who goes down to the deep well.”20 By looking into my dreams and the material collected from the city I realized that I was unconsciously connecting myself to part

Just the water, the leaves against each other… my feet... again

of my own so called ‘shadow’ through this material. The Shadow ‘can represent our darkest desires,

–Pause –

our untapped resources, or even rejected qualities. It can also symbolize our greatest fears and

Look inside…

phobias. Shadows may not be all bad, and may reveal admirable, even redeeming qualities’21. That is

Look outside… [Many questions]

how I decided to put on space part of my own dark unconscious side merged with parts of my spatial

A path (…) ending in a pause (?)

perceptions on the city and share it as an experience. The sharing of this experience took form in several

–The water –

trial installations in which I used as a base one of my dreams. This specific dream presented feelings

–The trees –

of fear, confusion, frustration and lack of identity; therefore, the atmosphere and the experience being

–The city –

transmitted was supposed to translate the same feelings. During the different tests I could notice that

–Me –

there were multiple interpretations approaching the feeling of the space. Some people felt immersed

–The camera –

and connected to the feelings that I wanted to transmit, while others felt in a quite opposite way with more of a curiosity impulse (more as an observer than a person immersed on the experience). That

I go back (…)

Dogs, Trees,

19

The Archetypes and the Collective Unconscious, Carl Jung, 1943, pages 7-8.

20

The Archetypes and the Collective Unconscious, Carl Jung, 1943, page 24.

21

The Collective Unconscious and its Archetypes, Philippe L. de Coster, D.D., page 10

Grey Sky, A bus stop,

More walking…

place and the spatial composition that is being arranged for the action to take place. Basically, the difference consists in the intrinsic ephemeral quality of the performative event and the endurance

While I read again this small extract taken from the first entry in the diary of my experiences in

of the physical element by itself. Through this approach I would like to share some thoughts that I

the city, I think about how through a simple activity, like a short walk with a camera, it is already

encountered during my practice regarding the physical layer of an atmosphere. My first approach

possible to experience a feeling of multiple spatial layers overlaying one on top of another, just

to the generation of environments was related to the objects and how people can attribute certain

by separating some few visible elements. The physical geometric space; the space generated by

emotional characteristics to them. In that sense, physical objects can contribute in the composition

the movements, actions and interactions; the emotional and mental space generated by individual

of a performance, adding a symbolic layer to the experience. Still they will remain inanimate physical

perceptions; the digital space contained in many electronic devices; and so many others that can

elements that would over last the life of any event, but the sensation produced by the encounter among

be found on the overlaying of what is called ‘reality’. The merge of all those layers, and the social

themselves and with the spectator is what can be seen as their performative value. The physical

and physical laws that govern them, was something that captivated me during my walks in the city.

layer enables the ground for the happening of the performative action. Concerning the performative

However, this was not the only spatial perception by which I felt intrigued about, the surrealistic

layer, I consider it as a space of possibilities and encounters. Erika Fischer Lichte stated in The

laws of time and space governing my dreams fascinated me as well. I found the perception of the

transformative power of performance referring to the strategies for using spatiality in performance that

waking hours quite different from the one perceived in dreams, where everything is possible and

“(…) the third strategy engenders spatiality as a blend of real and imagined spaces. It identifies the

the earth laws of time and space do not apply, but also where I could be able to explore some

performative space as a ‘space between’”23 This concept of a ‘space between’ makes me think about

of my personal inquiries and conflicts. These perceptions regarding the multilayered nature of my

the separation between waking and sleeping worlds and the possibility of blurring their boundaries

surroundings and my oneiric time inspire in me the desire of making these layers visible through

through the means of a performative space. The experiments I made on space had the purpose of

an experiential atmosphere. This multilayered atmosphere containing an experience would basically

generating an atmosphere where both conscious and unconscious minds could meld, and to reflect

contain three kind of spaces: physical, performative and filmic. The physical is concerned with the

this through performative elements like spatial composition, light, sound, a certain time structure

visual construction of the objects and the geometric space composing it, the performative appertain

and a spatial development. Those are some of the tools I found in order to generate a feeling on

to the event or actions contained on such space, and the filmic pretends to connect the three

space and to add the dynamics of a performative action to the physical layer. Additionally, I would

dimensional atmosphere to a digital parallel one. My experiments were interested in looking between

like to emphasize that in this case the action is performed by the spectators themselves guided by

this interaction of different kinds of spaces and the perception of a spectator on it. It generates a sort

the space; therefore, in a way the spectator himself becomes a performative element that interacts

of paradox because any attempt of grasping or approaching a complete understanding on it will fail.

with a narrative in a generated atmosphere. This interaction also represents a transformative tool on

“Spatiality, too, is transitory and fleeting. It does not exist before, beyond, or after the performance

space since it adds a different layer to the experience itself depending also on the character of the

but emerges in and through it (…) As such, spatiality needs to be distinguished from the space in

audience, being this one an individual or collective one. Besides the physical and the performative

which it occurs. First, the space in which the performance takes place represents and architectural

spatial layers, I also considered a filmic one. As I said before, the filmic or digital layer represents

– geometric space that pre-dates the performance and endures after it has ended. (…) In contrast,

a symbolic entrance point to a parallel dimension. Also, the adding of a two dimensional layer into

the space in which a performance occurs can be regarded as a performative space.”

This extract

a three dimensional space acts as a reference to the multiplicity of realities that can coexist in one

reflects the main difference between the physical geometrical space in which a performance takes

single room, and sometimes it is necessary to be taken out from what is considered a standard

22

23

The transformative power of performance, Erika Fischer Lichte, 2008, page 107.

22

The transformative power of performance, Erika Fischer Lichte, 2008, page 114.

perception of reality to get a different perspective from a more distant point of view, that in this case

What remains:

could be the projection surface and the filmic environment. During the tests, I considered that the filmic space was not just present in the projection surfaces, but also in the atmosphere of the three dimensional space itself. After separating these three different approaches to space, in order to generate some reflections on them, I also realized that the composition of an experiential atmosphere depends on the overlaying as a whole of all the multiple layers that the space can entail, and in that way they cannot be separated as independent entities. Each spatial layer brings up a world of questions that contribute to the raising of new inquiries and reflections on space itself; however, the understanding of space as a whole remains as an important element on my current and future work.

Looking back to the process, what stands out the most is a feeling of transformation and the raising of multiple reflections and new questions. Transformation, as a professional adding scenography to my architectural background, but also as an experience that has changed me in a deeper level as a human being. It challenged me to try new things that used to be totally unknown as building up real scale spaces or generating spatial installations with performative elements like lights, sound, narrative; etc., and most of all it has given me the chance to explore art from a personal point of view and to share it with other people. My work during these last two years has been triggered by multiple questions and paradoxes which has provoked that the outcome of this artistic research remained unknown even for me almost until the end. However, as I said before, for me it was never about a concrete result but mostly about the working process and the aesthetic questions concerning space and its dimensions. Thus, the main reflections that I found on the way are; first, the one referring to the paradoxical way in which an individual experience can become a collective one without losing its personal approach. And second, the multilayered character of space in which physical encounter performative and filmic, and how in spite of the possibility of being perceived as different layers, they should remain as a whole in order to generate a sense of atmosphere.

Both paradoxes worked for me as a continuous question during my practical and theoretical work challenging me to think about the relationship between performative space, time and spectator.

I consider this as an extremely important question which I would like to continue to work on and explore during my future practice. Specifically on the relationship between performative and filmic space and how they can be approached as a translation of an individual experience to a collective audience. These elements will remain as a relevant question on the continuation of my work, but also I would like to keep using my personal material as the background source for the generation of atmospheres. Since it challenges me to explore unknown psychological and emotional parts of myself.

Acknowledgement:

Bibliography:

Having the opportunity to study abroad and the chance to finally pursue my passion on performative

Erika Fischer Lichte, The transformative power of performance, 2008, pdf.

arts is something from which I feel deeply thankful, and there are several very special individuals to which I would like to express my gratitude:

Rachel Hann, Blurred Architecture. Duration and performance in the work of Diller Scofidio + Renfro, 2012, pdf.

To my program mentors: Henny Dorr and Tjallien Walma van der Molen. Thank you very much for

Stanislav Grof, The Holotropic mind, 1992, pdf.

your guidance and support. I will always appreciate your patience and respect, and your enthusias-

Carl G. Jung, The archetypes and the collective unconscious, 1943, printed.

tic will to share your knowledge and your professional experience with me.

Alejandro Jodorowsky, Psychomagic, 2004, pdf.

To my mother, Yolanda Duque, who has always been my greatest support, and has encouraged me

David Lynch, Catching the big Fish, 2007, printed.

to pursue my dreams. Thank you for being such a positive energy in my life, you are my inspiration

Edited by William J. Devlin and Shai Biderman, The Philosophy of David Lynch, 2011, pdf.

and my strength.

Philippe L. de Coster, D.D., The Collective Unconscious and its Archetypes, 2010, pdf.

To my father, Mauricio Caiza, whose love, motivation and support have been a great source of strength during my most difficult times. Thank you so much for always being there for me.

To my dear partner, Jonathan van der Wielen, for collaborating with me on the sound work for the final installation. Also, for all your help, patience and support during this process.

To Joris P. Weijdom and Machiel Veltkamp who gave me the opportunity to use an amazing technological space at Fort Blauwkapel for my last try outs, and also helped me not just with their knowledge about technology, but also with their feedback as designers and spectators on my work.

To the Dutch Ministry of Education for granted me with the Holland Scholarship that helped me financially in a great deal.

To my program colleagues: Britt van Groningen, Nina van der Mark, Astrid Bode, Samon Presland, Fransje Christiaans, Dorothea Mines and Ana Duarte, for your feedback and support.

To all the people that helped me during the try outs and the recollection of the material.

APPENDIX...

TIME LINE ARCHITECTURE “create emotional space” ref. peter zumthor -emotional space-emotional atmosphere-emotional environment-atmosphere“a surrounding influence or environment”

OF THE

why?

PROCESS (...)

SCENOGRAPHY

combining the skills of staging the studio brain as an experimental room / studio as the designing a space place to deconstruct the world and construct it again through (architecture) with the analitical perspectives s artistic sensibility of w a conversation b film/play/ t history painting/ r o performative arts politics u music/ a r a song installad (theater/film/perfora book tion i l i /book,etc daily life n d mance) a film,etc o raw material

membrane / filter

processor

visible result

artistic research

ref. dorita hannah vals therme basic elements “sceno-architecture” water / light / material “ transform a building thesis: performative and (space) from static visual arts center object to dynamic action” (dorita hannah) beginning of the transition -space telling a storyarchitecture + performative arts

transition (...)

exploration of the feedback relationship between the introspectve world of an individual and his/her environment (atmosphere/external world) connection between art + identity + culture reflected on the psychological and emotional values attributed to personal and surrounding objects the objects are not the main focus, are just the medium. i´m interested in the stories behind them. how to tell a fragment of one´s life or a piece of a person´s mind trhough space?

empathy?

first approach

play + experiment

pictures taken in ecuador

first experiment

how a person create his/her own micro-atmosphere?

serie of pictures taken of a personal object with an intense emotional background (monkey)

lady selling flowers + musicians in the steet

concept behind composed by: individual´s introspective world

personal story psychology cultural background current living environment relationships

external world

previous experiences

a non space? (...) a work space

micro-environment create a personal bond with the research subject by showing a piece of my own personal story

micro-atmosphere lady with the bougainvillea tree

spiritual ceremony + hammock in the woods

objects connecting scenography

personal and cultural preconceptions

second experiment collection of material of other people´s personal objects (related to their own personal stories)

personal ideology, etc.

(immediate atmosphere) reflected on the composition of the objects in the space surrounding psychological and emotional attributes to material objects/spaces/ surroundings (physical stuff)

how to reflect part of this rich interior world (related to an specific environment composed by different elements) through space? (to an audience) material: pictures and recordings through objects? through senses? through stories? (audio) through images?

research

questions (???)

how to tell a story without 1. how people relate to objects? how the psychological process people? (just with space)

of attributing emotional features to material things work?

related to senses? how to get a glance into someone´s mind through space?

senses hearing taste touch

not just a glance

2. how empathy work? how people can be related to other´s people stories through space (+senses+emotions)

smell but not just a glance! how to feel it? through empathy? to live that piece of someone else´s life through a fragment of space/ to live that story through an experience

take different theater texts design spaces that reflect the emotional and psychological reflection at the core of each play

theater plays

3. how getting to know other´s people pieces of mind will affect your own perception on certain matters?

1. a delicate balance by edward albee 2. the seagull by anton chekhov

4. how to create this kind of space where these stories will make people reflect or trumble on their own perspectives/preconceptions/daily life?

3. attemps on her life by martin crimp

but a path through senses?

sight

materialization

...

hearing

smell

taste

sight

touch

does this make a story? experience another perspective research on: psychology of the perception. how people perceive other´s people stuff?

...

4. six characters in search of an author by pirandello short scale maquets that represent the initial main reflection made on each play choose one play and design an space (...) reality vs. reflective perspective

THEATER PLAYS “agnes: (...) the individuality to which we cling so hard end at the whim; we are repeating ourselves into them that we put in risk, either by reflection, by honor or the lack of it” dysfunctional family = emotional instability “agnes: do we displease hapiness? we manufacture so much of our own dispair” the balance of the imbalance / fragmented elements in a single whole denial of emotions (often reality itself)/regret over paths not taken/emotional insecurities “paralysis” that makes the characters miserable -anxiety? family system = delicate balance

4. six characters in search of an author by pirandello “a play that suddenly happens (...)”

“Mother: (...) my torment is no pretence, sir. i am alive and i am present always”

“(...) Father: what for you is an illusion that you have to create, for us, on the other hand, is our sole reality (...) ”

1. a delicate balance by edward albee

“TREPLIEFF: living characters! life must be represented not as it is, but as it ought be, as it appears in dreams ” “I know they only look at me to measure my anxiety for insignificance; I read their thoughts, and suffer from humiliation.” “success”/

“recognition” the fragility of the uncertainty of the path taken

emotional labyrinth related to follow a certain path

reality

theater

the author´s mind (character´s reality)

?

2. the seagull by anton chekhov

“not just sympathise, but empathize. empathize because (...) because anya´s valley is our valley. anya´s trees are our trees. anya´s family is the family to which we all belong” (...) “so it´s a universal thing/obviously.-it´s a universal thing in which we recognize ourselves. our own world. our own pain” reducing our sense of self/ to the collective self

“coherent identity is a myth” multiple realities in one being

3. attemps on her life by martin crimp

“the characters should reality ( no bounderies) not, in fact, appear as phantasms, but as created realities, unchangeable creations of the imagination and , therefore, more real theater (materialization) and more consistent than the ever-changing natural- author´s vision (parallel realities) ness of the actors” “Father: (...) each one of us has a whole world of things inside him (...) and each one of us has his own particular world ” “Father: (...) my dramma lies entirely (...) in my being concious that each one of us believes himself to be a single person. but it is not true ... each one of us is many persons ”

ARCHITECTURAL SKINS + AMBIGUITY

DOORS + MOMENTS

mental mental and and emotional emotional OBSESSIVE OBSESSIVE PATTERNS PATTERNS acting acting as as traces traces on on space space

how how to to translate translate a a psychological psychological or or emotional emotional pattern pattern into into a a multi multi -- layered layered reality? reality?

(FROM) PERSONAL EXPERIENCE

ONE RESEARCH subject

DIFFERENT VARIABLES (...)

determine with which ELEMENTS or experiences from my personal life i am going to work wth

(FROM) OTHER PEOPLE´S EXPERIENCE

VARIOUS RESEARCH subjects

ONE OR TWO VARIABLES MAX.

-ACTIVITIES-

specify the kind of space: PERSONAL SPACE (room)/ WORK SPACE (studio)? BOTH? DEFINE THE RESEARCH MATERIAL find a GROUP OF PEOPLE willing to help me (at least 20)

pin a point in the map and visit several different SPACES COLLECT IT (pick 5 related to my personal DOCUMENT their spaces through obsessive expreiences) PHOTOGRAPHY and VIDEO ANALIZE IT CONNECT the experiences with the CHOOSE 5 SPACES based on the respaces WORK WITH IT IN A SMALL search inquiry COLLECT more material (pictures, SCALE DOCUMENT their spaces through recordings, videos,etc.) also REFERPHOTOGRAPHY and VIDEO ENCES and EXTERNAL INSPIRATION WORK WITH IT IN A BIG (theory) ANALYZE the material make VIDEOS and SCALE MODELS about it RESEARCH ON THE generate INSTALLATION(S) based on WORK AGAIN... the collected material

SCALE

make VIDEOS and SCALE MODELS about it generate INSTALLATION(S) based on the collected material

-TIME LINEoctober

november

december

january

february

march

april

may

-PROCESS OF DOCUMENTATIONfoucault

video personal general

david lynch carl jung

mental map graphics pictures text

scale models personal

marina abramovic chantal akerman

adolf loos

jodorowsky

general

video documentary + web.site

unconscious mental and emotional PATTERNS acting as hidden traces on space

how does the translation of an experience to a multi - layered reality work?

MOEZELDREEF (overvecht zuid)

WOLVESPLEIN

KOUWERPLANTSOEN

DONAUDREEF (overvecht zuid)

LUNETTEN

SLOTDRIFT (nieuwegein)

MINISTER DE VISSERSTRAAT

KERNWEG

HOGELANDSEPARK / DAMSTRAAT (From Dreams) (From places) 1. Double bed Logs Mirror (golden frame) Mushrooms 2. Window (hotel) Red velvet shoes New bed (double) Autumn leaves Old nasty bed (double) Grass Hotel door Bricks Abandoned house door Double green door Fruits (spread in street) Rusty metal lid Grey concrete walls Note on door 3. Double bed Canal water TV (modern) Trees Duvet (warm color) Park benches House door Water tower 4. Fancy dress Boats Toilet (old-white) Black leather boots Family pictures Red door Books (pile) Bikes 5. Large wooden table Window + red curtain Double bed Window + green curtain Wooden wardrobe Torn garbage bag Ceiling Rope Family pictures on the wall Double blue door 6. Golden stuff Graffiti door Bear skin Red car 7. Stairs Red lips on window Red rotary dial phone Leaves on wall Double bed Blue tights Billboard Hair Pajamas Mud Mask Sand Cars Metal swings 8. Show cases (instead of walls) Rock (huge) Neon lights Green metal container Double bed Concrete bridge Moving wooden puppets Train rails

LIST OF OBJECTS

MULTILAYERED ATMOSPHERES [a research about a possible merge of the conscious and the unconscious on space…]

PROGRAM

1. FROM NO - NARRATIVE SPACE TO NARRATIVE SPACE TRHOUGH THE ARCHITECTURAL SKINS 2. ´THE CITY´

(PHYSICAL SPACE)

ENTRANCE (FIRST ROOM)

1.

WHITE CUBE [NATURAL LIGHT]

WHITE WALLS DISAPPEAR REVEALING SKINS OF THE PLACE (WISSELSPOOR)

2.

[NATURAL LIGHT]

(SECOND ROOM)

THE CITY TROUGH VIDEO LAYERS: MAPPING PROJECTION ON DIFFERENT TEXTILE LAYERS OF VIDEOS COLLECTED IN THE CITY

´WAKING SPACE´CONNECTED TO THE ´CONSCIOUS MIND´ 3. ´THE DREAMS´ (INTROSPECTIVE SPACE)

VIDEO PROJECTION

(THIRD ROOM)

space to experience the ´dreaming feeling´ [RED LIGHT ENVIRONMENT]

´DREAMING SPACE´CONNECTED TO THE ´UNCONSCIOUS MIND´ 4. ´THE MERGE´

INSTALLATION: ´NOT A MIRROR´

MULTILAYERED SPACE PHYSICAL/ PERFORMATIVE/FILMIC /PSYCHOLOGICAL: (CONSCIOUS + UNCONSCIOUS)

MATTRESS + PROJECTION ON TOP

VIDEO PROJECTION MATTRESS

(FOURTH ROOM) EXIT

dark room showing the fake mirror effect + video mapping [WHITE LIGHT + RED LIGHT ENVIRONMENT]

process experienced through layers a linear path (hallway) with 4 different stages separated by semi-transparent layers

separate elements merge white room the the the transformed architectural city room dreams room into skins room (video mapping) (video + mattress)

closed

installation: ´not a mirror´

open

layers made of roller blinds (made of a translucnent white fabric) that can be rolled up to get to the next room

- reference for material and composition: ´double blind´from robert irwin

place in wisselspoor upper floor in the corner with the dark space

- TOP VIEW -

PROJECTION SCREENS MADE FROM WHITE TEXTILES

WALL FROM THE PLACE

MATTRESS WITH PROJECTION ON TOP (RED LIGHT ATMOSPHERE)

TRANSLUCENT FABRIC PANELS

2.00 M

WALL FROM THE PLACE

- WHITE ROOM MADE WITH ROLLER BLINDS THAT GO UP AND SHOW THE SKINS OF THE PLACE -

EXIT ENTRANCE

THE CITY

THE DREAMS

FAKE MIRROR INSTALLATION (OBJECTS + PROJECTION MAPPING)

1.5 M

2.00 M

2.00 M

8.00 M

- PERSPECTIVE -

2.5 M PANELS MADE FROM OPAQUE FABRIC BLACK COLOR PANELS MADE FROM OPAQUE FABRIC WHITE COLOR

WHITE CURTAINS THAT ROLL UP AND SHOW WALLS

EXIT

ENTRANCE

THE CITY

THE DREAMS

INSTALLATION: ´NOT A MIRROR´

THANK YOU