An installation is a visual or sonic art work that is designed to be 'installed' in a given space, creating an entire sensory experience for the viewer. It can be of any length, can occupy any space (or even several spaces), and can be of any size. It also often has a clear connection with 'real life' and the space in which it is presented.
Students on CMT and MTP have created a variety of interactive and site-specific installations which have been presented in diverse contexts, from the Leicester Space Centre to a Victorian Sewage Pumping Station, and in galleries and concert halls throughout the city and beyond.
This installation was created and premiered at the Church of St. Mary de Castro, Leicester - February 2018. The initial idea for the piece was to produce an audio and visual performance with textures and images formed from elements relating to the interior of the church. Translated, the Latin 'Perditus sum: quod perierat requiram' means 'I am lost: I will seek that which was lost'.
The Back of the Beyond is a multichannel sound installation designed to create the audible sensation of being in a forest. 32 speakers collectively present a coherent 3D sound environment encouraging deep listening and reflection.
This is the animation component for an site-specific installation utilizing 3D animation and sculpture. Platonic attempted to create an immersive environment that toyed with the idea of breaking the boundaries between the composition and realisation of a work. Related to STEMMA (which was composed around the same time), the visual aesthetic of the piece directly involved the equipment and surroundings from which I created my work: black tape connected the computer screen to the various structural characteristics of the space, making a visual connection between the tape and the black lines on the animation display - an attempt to persuade a spectator to appreciate both virtual and physical mediums as a singular entity.
This work, a triple-video and 6-channel sound instllation, is an audio-visual interpretation of Katherine Lysik’s personal experiences with the neurological sense-fusing condition of synesthesia. Through extensive relay with Katherine, great detail of her highly individual irregularity was acquired. Each video explores one of her particularly vivid sound and colour relationships with the overlap between their respective audio tracks, furthering the sense confusion aspect of the disorder.
To Flower Out... explores the potential experience of falling to one's fate through the interpretation of artistic execution -- Based on the tragedy of Robert Richardson's accident in 1890, the installation invites the audience to observe as a single drop of red lead paint falls through the floors of the pumping station. The non-corrosive droplet plunges into the pureness of water, metaphorically tarnishing the pumping station's ultimate plan of treating impurities in an amalgamation of sound, colour and pattern.
An Alternate Aesthetic is a site-specific installation, designed for the Abbey Pumping Station, Leicester, which focuses on the idea of replacing an existing environment with a contrasting one. It does this by removing certain qualities of the space, adding both sonic and visual elements as well as accentuating and complimenting already present attributes.
We are all trapped by time, it is the one thing that we each have in common. It ticks by seemingly more quickly with each passing day, bringing with it despair as we anxiously let it pass. A music box is attached to each clock's minute hand, thus slowing the music's tempo down to one beat per hour. Now, rather than melody, the listener is able to consider the timbre each chime emitted and, occasionally, the relationships between études. The anticipation of such events enhances the appreciation of them and one is further drawn to the more subtle aspects of the environment whilst contemplating the significance of the passing time. Hence, the eight études attempt to cage time and thereby allows its passing to be explored rather than rushed.
'I invite you to enter my garden of stillness and follow the path of salt. Sit for a while and reflect over the beauty and fragility of life.' This installation, presented in DMU's Trinity Chapel, involved an electronically treated version of 'Ave Verum' from Karl Jenkin's Stabat Mater along with the sound of salt cracking on slate, the latter chosen for its fragile sound as well as its many connotations as purifier and protector, symbol of spiritual health, friendship, protection and hospitality in various cultures.