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ImMERsion
Installation
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ImMERsion (2018)
Installation by:
Athina MASOURA, artist
Soundscapes by Lambros Taklis, composer - sound artist
Materials used:
Sand, fan mister, audio surround system 5.1, algae, oysters. Dimensions variable.
ImMERsion is an installation with a particular configuration that physically and psychologically involves the viewer. Once inside the work we found ourselves in a devouring darkness. The total absence of light leaves the space without apparent forms or limits. The room becomes a landscape that is simultaneously imaginary, abstract and physically explorable by the spectator.
The sudden deprivation of one of our senses intensifies the others. From his first steps into the room, the spectator feels a breeze of air, coming from a fan-mister. The feeling of touch is also intensified by the floor which is not as one might have expected, smooth and united. The sand covering the floor gives an unusual tactile sensation to our steps, signifying to the viewer that he is no longer walking through an exhibition hall.
The dark space is also invested by a sound environment which seeks to merge a real situation – our presence in the room – with an imaginary landscape – the fact of being at the sea. At last, odors are added in several places in the dark room to complete the polysensory experience.
athinamasoura.com
Installation by:
Athina MASOURA, artist
Soundscapes by Lambros Taklis, composer - sound artist
Materials used:
Sand, fan mister, audio surround system 5.1, algae, oysters. Dimensions variable.
ImMERsion is an installation with a particular configuration that physically and psychologically involves the viewer. Once inside the work we found ourselves in a devouring darkness. The total absence of light leaves the space without apparent forms or limits. The room becomes a landscape that is simultaneously imaginary, abstract and physically explorable by the spectator.
The sudden deprivation of one of our senses intensifies the others. From his first steps into the room, the spectator feels a breeze of air, coming from a fan-mister. The feeling of touch is also intensified by the floor which is not as one might have expected, smooth and united. The sand covering the floor gives an unusual tactile sensation to our steps, signifying to the viewer that he is no longer walking through an exhibition hall.
The dark space is also invested by a sound environment which seeks to merge a real situation – our presence in the room – with an imaginary landscape – the fact of being at the sea. At last, odors are added in several places in the dark room to complete the polysensory experience.
athinamasoura.com
