It will be an installation that invites people to four different types of space (in a train, at the platform, at the ticketing counter, and outside the train station), engaging them in the ‘live’ story of the fantasies of a child from a divorced family.
A collaboration with a friend of mine in Film, the narrative will be fragmented, telling parts of the life and action that our main character (girl) does in 4 separated yet connected spaces – in a train, at the station platform, at the ticketing counter, and outside the station, through a certain viewpoint.
In this post, i will be talking more about the intention and basis of interaction for the work.
The four zones will be:
The outside of the train station
This is the area where there will be projection and ambient sound around the surrounding showing the exterior of an MRT station, mainly of bicycle racks. Inviting the viewers further into the space.
One of the interaction will be with the gantry that will be present. At the moment, interacting with the gantry will trigger a video nearby within visibility or on the gantry itself, bringing an awareness that they have entered into the space and more events are about to unfold in the space.
In this space, we get to experience something not many people do. Being in the control room, having multiple monitors (tentatively 9) in the room that plays the surveillance of the MRT station.
Upon entering, we notice a girl going through the different monitors, as if the cameras are tracking her movements in the train station only.
In this space, there will be interaction either on the platform or on the train itself.
On the platform, there will be a phone booth, in which the viewers will pick it up, and will trigger a video of someone’s phone ringing, and audio through the phone – as if we are the ones trying to engage with the person.
Another setting would be in the train. Seeing not only the perspective of the girl, but also experiencing it.
For this space, there is an idea to make the ground feel like the train is coming, by using solenoids under lifted platforms to create that effect.
With all that have happened, we realised that we need to have a form of closure/exit to the installation, instead of leaving them hanging.
As of now, it is possible to have another gantry at the end of the spaces, as if to show the exit of the train station and thus the installation itself.
Possible Lasting Interactions
An idea that we had was to encourage and allow viewers to input their own story into the installation, such that they too become part of the work.
We could either capture their movements in a particular segment of the installation via camera and display the collective footage in part of the space itself.
3 Inspiring Works
Currently, there are 3 works by 3 different artists that are considered in their methods of executing their project. They are Ryoji Ikeda’s Datamatics(2006), Zbig Rybczynski’s Fragments of short film (2010) and George Legrady’s Pocket Full of Memories (2001).
The organisation of the screens and projection is interesting, engaging the viewers not only from the left and right, but also in the pathway, bringing another layer of perspective into the piece.
Fragments of Short Films (2010)
Again with the layout, the placement of multiple screens are interesting, and reminds me of CCTV’s control room. Furthermore, the idea of seeing multiple perspectives at possibly the same moment is something i will explore.
Pocket Full of Memories (2001)
This work’s engagement with the viewer uses the camera in the center of the space, and enables the viewers to take a photo of whatever they put inside a given space. The item or lack of it will be projected onto the screen, along with other viewers’.
Tying in with Rybczynski’s work, recording or taking an image of the viewers in the work and displaying them through a method similar to this will help to engage the viewers further.
Also, a consideration would be Bruce Nauman.
Looking at how he arranges the space with the camera, the interaction of the work is such that you wanted to go closer to the monitors to see what is being displayed. However, the closer you get, the further you are away from the subject.
Playing with that perception of space, i plan to explore that in the installation too.