Recapping last week’s episode, I have to combine all the distinct elements into one set installation – as till now I still can’t envision the final outcome. Basically, I tried to combine performance actions with the visuals background in OBS to build up a mockup. But I wonder if blatant combination would be really what I want? The best thing to do is to just work on it and figure how it goes on the side.
Sounds
Understand that sounds are very important, but I am still sourcing for appropriate sounds and have recorded a few but have not started editing them. But at the same time, I am wondering if sounds are really needed in this installation which I am considering of using the physical objects to generate on-site sound rather than a prerecording.
Pioneer Foam Artists //Research
Foam, Kohei Nawa
Foam in building an environment
Nawa actualised one of the sketches I had in mind, particularly in my foam tryout last week. However, his premise for the installation slightly deferred from mine – through this installation, Nawa investigates the cycle of birth and destruction, whereas mine focuses only on destruction.
Small bubbles (cells) continue to form on the surface of a gently lapsing liquid. They accumulate to form an autonomous structure comprised of foam. Each bubble cannot escape the cycle of birth and destruction, which is not unlike the way our cells operate as they metabolize and circulate. Source: dezeen.com
Cloud Installations, David Medalla
Foam as sculpture and building up forms
Museo Nacional Centro de Arte Reina Sofia, 2013
1961, remade 2004
- kinetic, evolving forms
- Locally, Medalla’s Cloud Canyons No. 24 installed at National Gallery Singapore requires maintanence in the form of topping up the detergent and water before restarting the installation every five days.Sulaiman’s team had to find a brand of detergent that is odourless, water-based and which emits low levels of volatile organic compounds so as not to affect other artworks. Six different brands were tested – each for a week at a time.
Bouquet Final, Michel Blazy
Foam as an installation
Housed in a Cistercian monastery in Paris that dates back to the 13th century, the unpredictable, free-forming foam “sculptures” drape softly and frothily over unyielding metal scaffolding.
Resembling huge swaths of cotton candy, the fluffy, wet mass of foam is meant to symbolize the fragility of life.
