projecting creativities

The brief for the exhibition was to delight and surprise, and it turns out that the first ones to be surprised are us. When we came up with the idea of overlapping images using mirrors we were only considering to overlay a direct image with a reflected one. We were only considering that mirror manipulation was going to allow two reading possibilities: one when the mirrors were flipped back, so no reflected image; and the other one when the mirrors were turned against the projection reflecting it and causing the superposition. 

However, as the mechanism to turn the mirrors was an axis, what has happened is that the mirrored image was reflected in a different angle allowing this reflection to move around the wall. Thus, it was possible to move the figures over the landscape, and also to turn different mirrors at the same time in opposite angles, causing interaction between both reflections. At the end, the images could be multiply overlapped depending on the position of the mirror (figure 1).

Figure 1: Group 4; Human Triumph - Interdisciplinary Project; 2018; University of Hertfordshire, Hatfield.

Expecting to play with two positions, so two possibilities we ended up playing with multiple positions, multiple interactive possibilities, and so that, multiple meaning interpretations.

We have just connected all the pc’s and projectors and tried to settle up both projections. The space behind the plinth allows all the stuff to be kept, and we had placed a fabric to hide them allowing its manipulation (figure 1).

Figure 1: Group 4; Computer and Projector Connections; 2018; University of Hertfordshire, Hatfield.

 To our surprise we have find some way to adjust the images size allowing the reflection over the 5x5 mirror grid (figure 2)! Adjusting the proportions of the wall image we could get a bigger background to make the images almost coincide (figure 3).

Figure 2: Group 4; Projection on the 5x5 grid; 2018; University of Hertfordshire, Hatfield.

As we had decided we started the construction of the first part of the plinth making a simple rectangle box. The width (46 cm) came dictated from the measurements of the grid plus two 2x2 wood sticks in each side. The height (110 cm) was decided to allow a comfortable manipulation of the grid when standing up just in front of it.  Finally, the length (90 cm) was due to the distance needed from the projector to the grid. Hence, the first thing was to get the material and have it cut (figure 1).

Figure 1: Group 4; Getting the Material; 2018; University of Hertfordshire, Hatfield.

The process of construction itself was not really difficult, it consisted of connecting the panels with 2x2 structure (figure 2). Although it seemed simple, the manipulation of the tools when one is not used to is not an easy task.

Figure 2: Group 4; Attaching panels to 2x2 sticks; 2018; University of Hertfordshire, Hatfield.

We leave one side confronting the wall opened to allow the manipulation of the computers which were going to be just inside the plinth.

Before attaching the top panel, we fixed for 2x2 sticks from behind to assure an stable connection with the other part of the plinth (figure 3).

Figure 3: Group 4; Connections for the upper part; 2018; University of Hertfordshire, Hatfield.

While some of us were constructing this base, another pair of members were cutting the panels and the hole to fix the grid on the second part of the plinth (figure 4).

Figure 4: Group 4; Upper part matchig with the grid; 2018; University of Hertfordshire, Hatfield.

Finally, we attached the panels to the 2x2 sticks we previously affixed to the base (figure 5).

Figure 5: Group 4; Upper part attachment; 2018; University of Hertfordshire, Hatfield.

Once the construction was finished (figure 6), we covered all the corners with tape and we paint over all the construction as neater as we can (figure 7).

Figure 6: Group 4; Finished plinth construction before painting; 2018; University of Hertfordshire, Hatfield.  

Figure 7: Group 4; Painted plinth construction; 2018; University of Hertfordshire, Hatfield.

It was nice to see, that once the gallery was empty and, the material taken apart, our plinth with its long proportion, looked from the front seemed piece of sculpture (figure 8).

After our induction workshop we started designing our plinth to include the mirror grid on it. Our first idea was to attach the grid on the plinth surface, but it wouldn’t be stable enough to allow mirror manipulation. Thus, our plinth should have a higher front part where the grid will be included. This was our first design drawings:

Figure 1: Group 4; Plinth Construction Sketches; 2018; University of Hertfordshire, Hatfield.

 Our initial idea was to get a neater front panel with a squared hole for the grid. However, we needed to test projection distances before starting, so we decided to speed up the process making the plinth in two parts. In that way, some of us could started to work on the base while the others were checking the distances.

It was here, when ere we had to face a problem. With the room we were given, the projected image on the wall was smaller than we thought whereas the reflected image on the grid remained bigger. To make they match we tried to gain as much distance as we can placing the projector 1 just over the grid and keeping the projector 2 on the plinth surface (figure 2).

Figure 2: Group 4; Matching Distances Sketches; 2018; University of Hertfordshire, Hatfield.

After evaluating some possibilities for the content of our projections we decided to leave apart the ones requiring a perfect overlapping as it implied being very precise. The main problem in terms of precision is the ignorance of the exact space we are going to dispose, as we will be really constricted with the projecting distances. Wall-projection distance has to be two times mirror-projection distance, and depending on the space available we will be able to have a bigger or small image on the wall, and a bigger or small image on the grid.

Another point to avoid looking for a perfect overlapping is the length of the video. The two projections have run exactly at the same time, and different pc’s or projectors can accelerate or reduce the velocity of the projection a little bit. As the projection is going to be a short one, if it happens the synchronisation of both videos will not be perfect, and neither the overlapping.

These are the technical restrictions for the content. But now it comes the moment when we have to decide what we want to say with our projections. Since the idea of our installation is to question the projection surface allowing the viewers to interact with it to generate different images, and consequently different meanings, it seems that the content should follow the same discourse.

Focusing on human interaction with the piece, we decided that what we will explain with the images will be something that had also been affected by human interaction. Hence, the idea is to be critic with human intervention in the world. Human invasion of forest and unspoilt lands have turned them into a city and once they have the dark, grey and polluted city they wonder like shadows with no direction.

We are trying to be sarcastic when creating something appealing which is meant to be touched, turned and manipulated, but, at the same time, showing that the results of doing so are not the wonderful ones one would expect.

To make the two projections we create a sequence of drawings. They both started with the same undefined image which is slowly built by adding layers of painting. We did the paintings and took photos of them in different stages to create a sense of changing nature keeping the same point of view. To include people over the backgrounds we decided to draw abstract black silhouettes attached to the landscapes and in relation to them, but clearly superposed, trying to play with its positions in relation to the mirror grid.  

We expect that the act of turning mirrors around will be encouraged when the audience starts to see parts of the other projection (figure 2) interfering the calmed story on the wall (figure 1).

Figure 1: Group 4; Wall Projection – nature; 2018; University of Hertfordshire, Hatfield.

From Matt’s walkthrough textual descriptions I developed the drawings for the storyboard:

Figure 1: Marta Puig Parnau; Walkthrough storyboard with Matt’s texts.

Imagining how a person could perceive your installation makes you identify the surprising elements and the different approach levels that people can have with your artefact.

In my own studies, I’ve been working on my major project; a 90 minute screenplay. In discussing this with a lecturer I’ve stumbled onto a few problems with my own work, and now look to change the project. These faults came to my attention through a repetition of the same question; “what point are you trying to make?”

After the team decided on Marta’s genius mirror flip idea, we were tasked with creating a detailed storyboard to describe the experience of our installation, as seen through the eyes of a visitor to the gallery. Lacking any artistic skills myself, it was decided that Marta would design images based on textual descriptions I would write. Together, these would form a document to direct the rest of our project.

To construct the structure we need, the first step is to build the grid. Marta bought the wood from the Art shop and cut it with a laser cutter. 

Figure 1: Group 4; Laser cut the wood; 2018; University of Hertfordshire, Hatfield.

She assembled the pieces with glue and made it a perfect grid. 

Figure 2: Group 4; The grid; 2018; University of Hertfordshire, Hatfield.

Then she bought wires and put them in the holes has been drilled on the grid.

Figure 3: Group 4; The grid with wire; 2018; University of Hertfordshire, Hatfield.

We bought the mirror online. The plan is laser cut it to 25 pieces of 6 x 6 cm square. But we have been told that only acrylic non-extruded mirror can be cut by laser. We cannot be sure if the mirror we bought online is non-extruded. So we decided to cut it with the electric saw from the workshop. After we brought the mirror to the workshop, they said they would test whether it can be cut by laser and it can. So we had our perfectly cut mirror pieces.

Figure 4: Group 4; Mirror pieces; 2018; University of Hertfordshire, Hatfield.

Before we assembled the mirror and the grid. We thought it will be better if we painted the wood structure white. Marta brought white pigment and a brush. But we found that pigment cannot work will on the wood. Then we bought spray paint from the Art shop. That works better but it consume really quick and it not cheap. So we used both of them and borrowed the roller brush to make the surface flat.

Figure 5: Group 4; Spray paint the wood; 2018; University of Hertfordshire, Hatfield.

Figure 6: Group 4; 2018; University of Hertfordshire, Hatfield.

Figure 7: Group 4; 2018; University of Hertfordshire, Hatfield.

The next step is to assemble the mirror and wood structure. And also add paperboard to leave space for the wires.

Figure 4: Group 4; Mirror pieces; 2018; University of Hertfordshire, Hatfield.

Figure 8: Group 4; 2018; University of Hertfordshire, Hatfield.

It almost has done. And we found the edge of the mirror and wood piece is not looking good. So we put white tape to cover it.

Figure 9: Group 4; 2018; University of Hertfordshire, Hatfield.

And finally, the finished structure:

Figure 10: Group 4; 2018; University of Hertfordshire, Hatfield.

To design the grid, we started establishing the points that it would have to accomplish according to our idea. We needed enough squares to make different combinations and to cover all screen surface. Additionally, the squares should be big enough to allow its manipulation but not excessively because we wanted it to be appealing in a human scale. In terms of shape we agreed that a squared grid would be simple to execute and to adjust, as it works in both orientations.

Figure 1: Marta Puig Parnau; Grid design, measurements and unites.

In more detail the pieces are designed thinking on the construction process, and allowing to advance with some steps before getting all the materials. We know that we will need time to get the mirror squares so that is going to be the last thing on the assembly chain.

The most difficult part is the axis, we need it to rotate the pieces and it implies that these pieces must have a hole within its thickness. We have decided that the easiest option would be to avoid drilling the mirrors and use two assembled pieces with the axis in between.

Figure 2: Marta Puig Parnau; Grid design, axis and spin pieces solutions.

Before constructing the whole grid, we have made a small prototype with draft materials just to see how it works, test the size and evaluate the construction process.

Figure 3: Group 4; Rotating Mirror Prototype; 2018; University of Hertfordshire, Hatfield.

From that construction we extract two conclusions:

- it is better if the axis is vertical, because gravity doesn’t effect in case of imprecision on the axis position, and the pieces can spin without getting stuck.

- it is easiest if the axis is fixed to the frame and the pieces are constructed attached to this axis but allowing enough movement.

Since we decided on the idea that makes grid mirror，there are some ideas for the content to reflect.

There will be two images to complete each other and projected by two projectors respectively. I will call the image that been projected directly to the wall Image1. And the one that reflected by mirror will be called Image2

1) Decorate a house or a landscape:

Image1 can be an empty room or a blank landscape, and Image 2 can be added to make it different. Image2 can be people, animals or just some decoration.

https://www.pinterest.co.uk/pin/571605377698557257/

2) Give a human figure makeup or clothes

This one is similar to the first one.

3) Gallery

Image1 is the gallery’s wall and Image2 will be exhibits in the gallery, it may fit better to our 5x5 grid mirror. Or Image1 can be television screens.

https://www.pinterest.co.uk/pin/571605377698557264/

4) finish or change a sentence

This is more like play with the words. People can change the words by flip  mirrors.

5) using parts to form an unexpected object.

Image1 can be a people post like holding something. And audience only knew what is he/she holding (maybe a cupcake) after turning the right mirror.

Pinterest. (2018). Sketchbooks. [online] Available at: https://www.pinterest.co.uk/pin/571605377698567420/ [Accessed 26 Jan. 2018].

Pinterest. (2018). let your insides out. [online] Available at: https://www.pinterest.co.uk/pin/251779435391559952/ [Accessed 26 Jan. 2018].

Pinterest. (2018). Sketchbooks. [online] Available at: https://www.pinterest.co.uk/pin/571605377698557210/ [Accessed 26 Jan. 2018].     

Pinterest. (2018). polyvore.com. [online] Available at: https://www.pinterest.co.uk/pin/571605377698557200/ [Accessed 26 Jan. 2018].  

Pinterest. (2018). Sketchbooks. [online] Available at: https://www.pinterest.co.uk/pin/571605377698567422/ [Accessed 26 Jan. 2018].

Pinterest. (2018). Sketchbooks. [online] Available at: https://www.pinterest.co.uk/pin/571605377698557257/ [Accessed 26 Jan. 2018].   

Pinterest. (2018). Beautiful altered book art by Lisa Kokin. [online] Available at: https://www.pinterest.co.uk/pin/571605377698567414/ [Accessed 26 Jan. 2018].

Anon, (2018). [online] Available at: https://www.quora.com/What-is-a-mathematical-way-to-say-I-love-you [Accessed 26 Jan. 2018].

Following the weaknesses and virtues explained for each idea, and being aware of the time, the budget and roughly the space we have, the deliberation lead us to conclude the third idea as the best option. We identified the ideas in such a way:

Idea 1: connecting dots - the easiest one, useful to have it in the pipeline

Idea 2: projecting an environment – the artistic one, astonishing but risky

Idea 3: reflecting and overlapping – the interactive one, complex and precise but really appealing

The idea of connecting the dots, even being the easies one to accomplish in the assembly stage, relied too much on the viewer intervention. Also, as the piece would experiment different stages could be difficult to catch the eye on the beginning.

The artistic idea had a lack of interaction, at least till the level we developed it. Also, its construction was a big negative point to consider, not only because of the complexity, but also because it would have to be done in place which meant less time and more pressure.

Finally, the selected idea, even its precise construction made us to feel a little bit unconfident, we thought could be the most interesting one to develop.

Thinking about the walkthrough, we understand that there would be two reading levels: the first one from a distance where you see a big image on a wall, and second one when you reach the grid, you touch it and you discover your power over the big image when interacting with the mirrors. Also it opens a wide range of possibilities on the content since there would be two images (possibly both in movement), one complementing each other. This duality gives us some space to play with meanings and with polarities trying to explore on the audience role to generate these significations.

Thinking about light technical aspects we needed to check some things before: will a mirror be able to perfectly reflect an image? Will the image behind work with the overlapped one?

Thus, the first thing we did before deciding was to try it in advance, seeing that the effect could work properly with the proper light conditions (figures 1 and 2).

Figure 1: Group 4; Result of Overlapping Images Test; 2018; University of Hertfordshire, Hatfield.

Figure 2: Group 4; Assembly of Overlapping Images Test; 2018; University of Hertfordshire, Hatfield.

Finally, the constructing aspect seems to be the apple of discord. The construction of the grid requires cutting and sticking elements perfectly and also working with little mobile pieces. Also the structure would have to be stable enough to allow its manipulation. The good point is that it could be made in advance, so there is more time to do it, and also more time to react if some difficulties appeared.

Our third idea came from our groups experimentation using two projectors. Early on we found that overlapping two images ontop of one another created engaging results. We wished to further capatalise on this concept by giving the viewer the ability to control over the second projection. Below you can see an illustration of this concept.

Figure 1: Marta Puig Parnau; Sketch of overlapping reflections.

The user can cast the second projection onto the first by flipping mirrors affixed to a grid system and selecting which part of the projection will be displayed.

Figure 2: Marta Puig Parnau; Side view of the projector setup.

Figure 3: Image on the left, is the projection without overlap. The right is with overlapping projection.

We felt that this idea prompted user engagement and curiosity as the projected image would only become completed once the participant began flipping the mirrors. Below you can see the drawing of the completed grid system:

This idea came from the reflections around the egg task. Reflecting in the concept of covering something very fragile with layers that protect it, the idea of covering the light as the most fragile element come up into our storming. The first idea was to create a cupola here the light will be kept. Making the cupola big enough to allow people get into to discover what’s going on inside, but at the same time, working with different densities of layers allowing the light to go through them (figure 1).

Figure 1: Marta Puig Parnau; Sketch on Covering Light as in the Egg Task.

Being realistic it will be really difficult to construct this kind of cupola on its own and in the short amount of time. So we started rethinking the idea.

What had become important was the idea of projecting light to create this sense of being covered, as light must lose its directionality to make it expand on the three dimensions. Hence, we tried to focus on the idea and forget about the technical aspects for a moment, and think how we can create this sense of light environment. Researching a bit we found some inspirational installations on the field.

Boltanski’s Shadows (figure 2) worked with the relations between an object or a figure and its remembrance. Different focuses of light made a disturbing atmosphere of creepy shadows from just a small assembly of figures.

Figure 2: Christian Boltanski; Shadows; 1990; Institute of Contemporary Arts Nagoya, Japan. Photo from: PROGRESSIVEREALITIES. (2010). Christian Boltanski. [Online] Available at: https://progressiverealities.wordpress.com/2010/04/06/christian-boltanski/ [Accessed: January 22nd 2018].

 Kistler’s Chinese Stories (figure 3) worked similarly but multiplying the number of assemblies and using light reflectors to bring the shadows all over the exhibition room. In this case, to create the sense of atmosphere the author used multiple projectors in different directions.

Figure 3: Ralph Kistler; Cuentos Chinos; 2011; KAdE Kunsthal, Amersfoort, Nederland. Photo from: SUBTOURS. (2011). Cuentos Chinos @ KAdE. [Online] Available at: http://www.subtours.com/cms/node/75 [Accessed: January 22nd 2018].

 Some images from the Digital Landscape Atelier projected in Sage Hall (figure 4) were really inspiring in terms of environment and combination of light, shadows, materials, transparencies and reflections. In this occasion the environment is achieved using the capacity of light to reflect a beam in different directions and with the use of different elements as surfaces.

Figure 4: Digital Landscape Atelier; Workshop Projecting the Possibilities; 2015; Newtowne School; Italy. Photo from: NEWTON SCHOOL (2015). Projecting the possibilities. [Online] Available at: http://newtowneschool.org/news-ideas/projecting-the-possibilities/ [Accessed: January 22nd 2018].

 Besides, recovering some images from the first explorations with the projector, we came across the idea of using a glass jar as a diffraction object. Its circular shape would allow the light to be reflected around the space. So the assembly would consist of a projector which sends the light in a horizontal direction, a mirror which changes the light direction pointing down the floor where the glass jar would be placed to reflect light around (figure 5)

Figure 5: Marta Puig Parnau; Sketch on Light Environment.

Thus, once here, the environment could be complemented by semi-transparent layers around the light, with little objects inside the jar to create shadows, even with water into it, etc..

What missed was the constructability. At that point we realised that maybe we could get the effect only with one curved surface which could be held from the walls and the balcony of the gallery (figure 6 and 7) as it happens in Minamo installation, where an intimate interior space is created by covering all the surface with reflected liquid patterns (figure 8).

Figure 6: Marta Puig Parnau; Sketch on Light Environment with one Curved Surface.

Figure 7: Marta Puig Parnau; technical sketches on Light Environment with one Curved Surface.

Figure 8: Torafu Architects; Minamo Installation; 2011; Tokyo Designers Week. Photo from: TORAFU ARCHITECTS (2018). Minamo. [Online] Available at: http://torafu.com/works/min [Accessed: January 22nd 2018].

 Although we found a solution, constructing it with one/two days can be difficult to accomplish, and it cannot be built in advance, which makes the option less appealing for us.

What makes the installation appealing is the idea of creating a sense of space with light. It would be a visual installation where maybe we could bring some bits of interaction with the shadows or even with some sensors around to make light colour changes. What makes us to feel unconfident with it is the construction complexity in a short period of time, and the difficulty to explore the effects in advance.

Sources:

NEWTON SCHOOL (2015). Projecting the possibilities. [Online] Available at: http://newtowneschool.org/news-ideas/projecting-the-possibilities/ [Accessed: January 22nd 2018].

PROGRESSIVEREALITIES. (2010). Christian Boltanski. [Online] Available at: https://progressiverealities.wordpress.com/2010/04/06/christian-boltanski/ [Accessed: January 22nd 2018].

SUBTOURS. (2011). Cuentos Chinos @ KAdE. [Online] Available at: http://www.subtours.com/cms/node/75 [Accessed: January 22nd 2018].

Through connecting dots in the numbered way, a full picture is revealed in the end. After discussion with my teammates, we settled on a design where we use the projector to project several dotted patterns individually, each for a period of time and on a loop. Each dotted pattern forms a picture on its own. After finishing all the individual pictures, all the pictures will together form a larger picture of our school’s logo, the stag and the name.

The projection will be projected on a semi-transparent screen where ourselves or the viewers can draw on the back without blocking the light source from the projector. The art work is meant to be an interactive project.

We entertained the idea of using a non-transparent material as the screen and have viewers draw on the front of it and blocking the projection as they draw. It could be fun to provoke the viewers and implement the notion of how annoying it is to have people blocking projections in real world (in the movie theater or in presentations).

For the third session we brought the three ideas for the installation we were asked. During the past week we had been collecting different sorts of ideas around the topic, researching other exhibition, being inspired by the Lumiere Festival and trying to bring further first week experiments with light. After some two meetings, we identify the three ideas. We tried them to be really different, with different outstanding points.

So that was the list:

Idea 1: connecting dots. Dots are projected in a semi-transparent surface and people is allowed to connect them to form a drawing.

- implies viewer participation

- is “easy” to construct

- a lot is given to the audience and so that, there is a risk factor if they do not participate properly.

Idea 2: projecting an environment. Light is sent out form above to a glass jar which diffracts the light in different directions creating a sense of covering.

- artistic approach

- viewer does not interact but seeks to make them feel different into a specific organic environment

- implies curveted surfaces with difficult construction.

Idea 3: reflecting and overlapping. Two images are projected in opposite directions, one of them to a wall, the other to an interactive surface with mirrors. When turning mirrors against the second projection, the image is reflected and overlapped with the one on the wall.

- seeks the interaction of the viewer

- there is an element of surprise

- it has two reading levels (from the distance and from the proximity)

- it requires to be very precise

- the construction of some elements is dedicated but can be done in advance

The final stage of out project is almost upon us and it is time to reflect on our work so far. I will do so using the stages of group development provided by Tuckman and Jensen because it is what our tutor believes to be true.

We went through our first stage “Forming” (Tuckman & Jensen, 1977) quickly and smoothly. We learnt each other’s name, discipline, place of origin, and a little of work style. The true nature of each of our preferences were not discovered at that moment, but we worked together pretty well since none of us had any obvious conflict with others.

The “Storming” and “Norming”   (Tuckman & Jensen, 1977) stages were also fun for us. We had all gotten a firm hold of the project and we were all pitching valuable ideas to the group. Each of our work style begins to emerge at this stage, where some of us are really prepared, and others show up more casually; some of us are more creative, some are more resourceful, and some are more orderly. Our differences in style did not obstruct our creative process. Instead, the balance between practicality and creativity was well-controlled and we worked more efficiently each time we meet.

Whist working through the “Performing” (Tuckman & Jensen, 1977) stage, our group has reached a point where we know what each of us are going to provide and contribute to the group at every turn. We have developed a rhythm of working where we can all shine brightly with our ideas and styles without over-shadowing others.