'Isolina' : May 2006
'Isolina'
Short story based environmental installation.
THEORETICAL MOTIVATIONS
As traumas fade and the past becomes distant,
memories re-work themselves, fashion themselves into
stories that uphold a sense of being at that moment.
Freedom to explore devoid of expectation or
chronology, this installation presents itself as just
being. There is a tree for playing or ignoring.
A bench for sitting, a story to read. Marbles to play
with, and a story to watch on the wall. These
activities are available, but none are necessary.
The entire installation is based on
a semi-biographical short story of my childhood,
a childhood spent in illness (Figure 007).
My thoughts on growing up are generally unfocused,
making it hard to pin-point exact happenings,
memories, and sequences of events. As such,
participants are offered an opportunity to experience
my story through this lens.
TECHNICAL DISCUSSION
Participants are encouraged to do as they please with
the installation. They can hang out at the shelf near
the main installation or just sit on the bench next
to the shelf (Figure 003). Alternatively, there is
the option approach a sculptural tree to view a video
within the wall (Figure 004, Figure 005). This screen
plays illustrated scenes from the short story
(Figure 002).
For the adventurous sort, there are marbles at the
base of the tree (Figure 006). Arcing along a path
near the base are a series of seven pits where
marbles can rest. Within each pit is a light sensor
that acts as a switch.
On approach, the video behind the tree shows
a default scene (Figure 001). This image pulses to
and from white in a breath-like manner to indicate
that Isolina is waiting. Her story is yet to be told.
Placing marbles in the seven pits in specific orders,
sequences scenes from the story on the wall
(Figure 006). The placement of a marble in "pit one",
then "pit three", then "pit five", then "pit two"
would have the result of playing the first, third,
fifth, then second scene, in sequence. Removing a
marble from "pit three" removes it from the sequence
and the first, fifth, then second scene play in
order. Adding a new marble places that scene at the
end. Thus adding a marble to "pit seven" causes the
first, fifth, second, then seventh scene to play in
this example.
Participants are allowed to enjoy combinatorially
many options with the story, or simply sit and read
the printed version of the story on the shelf nearby
(Figure 003).
DOCUMENTATION
The reception of the piece was overwhelmingly mixed.
As the exhibition was large (with over eighty artists
showing), the bench was frequently used. Most took
the time to visit the installation and read the
story, but many were reluctant to interact with the
piece, as it required kneeling onto the floor to
shoot marbles.
Some enjoyed making a game out of shooting the
marbles into the hole, ignoring the sequencing aspect
of the piece. However, those who enjoyed the
connections between the environment, the illustration
and the story connected with the piece very deeply.
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main
cv
>'isolina'
'dispersal, residue'
'diaspora'
'non-linear'
