Overview
‘Everything and Nothing’ is a projection installation work, the piece will take up about 2.5m2
corner
of a gallery space, it will use a combination of projection mapping, ambient occlusion and physical
drawings to create the illusion of perspective and depth.
Viewers will be drawn into the projected world via the use of audio, colour, line, movement and
light. Perceptions of spatial reality will be challenged through projection mapping onto a concave
surface within the installation space.
Time will be set on a loop that takes around 10 minutes, animation will be kept to a minimum,
mostly of simple loops and lighting effects. I would like to be able to show the movement of time
from dawn to dusk and back to dawn again.
Treatment
The work will be set into the corner of a gallery space, in the centre of the installation will be a
rectangular box (aprox 1.5m high x 0.5m wide) with a concave surface cut from the corner facing
toward the viewer (fig.1). This surface will form the focal point of the installation: The illusion that
the projected image is coming toward the viewer.
One of the first things that the viewer will notice about the installation is the blending of the
projected space into the real space, this will be achieved by using a number of masking layers
within the projected image. The sky background will be blended using a large soft gradient mask;
The cloud layers will have their own soft gradient mask that is offset from the sky layer, thus
adding to the illusion of space as the clouds interact with the gallery wall; Ground elements also
blend in separately, this blend will be enhanced with the use of pen outlines drawn on the wall
around the unmoving projected elements such as buildings, cliffs and horizon. These outlines will
trail off around the edges of the projection.
The viewer is drawn into the projected image through the use of colour and contrast as well as
perspective and movement lines: that is a combination of the real perspective of the gallery corner
space and the forced perspective of the projected image (fig.2). Movement lines will be created by
the motion of traffic flowing into and out of the city via road networks running from the city and air
traffic taking off and landing within the city.
Use of lighting adds to the illusionary depth, as time passes shadows move and colours shift as
lighting conditions change. From the bright white light of midday through to darkness shot through
with dazzling urban electric lights.
The audio will play a major role, immersing the audience into the projected world. 6.1 surround
sound will be set up about the installation, the bustle and buzz of the environment will be brought
to life though an immersive environmental soundtrack.
The focal point of the installation is the concave/ convex illusionary space of the projected urban
environment. Distorted fish-eye style perspective gives the urban environment an extra surreal
dimension.
