Sacred Danger - immersive environment reinventing a sacred space. Part I - physically built outside installation. Part II - video-sound installation transferring experience of that physically built space.
All about Sacred Danger can be seen on this link: come fare amore orale
video colliding multiple screens into a single projection: come fare amore tutta la notte
Sacred Danger Part I – immersive site-specific outside installation or a structural intervention in a landscape reinventing a sacred space. A project is inspired by the artist’s research trip to Blaenau Ffesteniog in North Wales, where I have been taken by local people to abandoned slate queries. By experiencing a sensation of the innermost fear and danger during this journey – those slate queries could collapse any time – I have compared them to Gothic cathedrals, that one of a beauty and attractive seduction though simultaneously the one of a danger and manipulation.
Visible from far away fields, Sacred Danger sits on a sharply inclined hill like a weightless cloud inviting you to enter into its inside. Although, the very moment you find yourself there, a situation is reversed into insecurity and vulnerability by exposing your body to the attack of a fluctuating under the strong wind structure built out of just 6mm plexiglass penetrated by massive 1inch steel rods. Dragon shape of a zig-zag foundation is confusing in its refractive magnifying reflections, and willing to escape to a stunning sea side horizon you are bounded to a disappointment – you are inside the space with no exit. The exit is blocked by a transparent plexiglass which obviously you do not see unless by touching it on approaching. In effect, you would try to exit Sacred Danger on every turn of a dragon only to realise that transparency is an illusion and all your senses and perceptions are disoriented.
Chameleonic nature of Sacred Danger, with a great sensitivity reacting on each of the atmospheric conditions, makes the structure change its appearance within nearly every hour. Transparent throughout the day. Frosted in the early morning by dense fog. Turning flaming red in the sunset. With sliding raindrops in the evening. The structure claims its own presence to be unbelievable. A space with no exit dissolves in nature by confronting it. Triggers the mind by challenging and provoking it. Delusional crystal clear transparency of plexiglass transforms Sacred Danger into a totally invisible volume suspending threaded bars in the air.
Being deliberately created to transfer the feeling of insecurity, instability and danger - you just simply don’t believe that the structure holds itself up - and this is exactly how it should be. Though, each experience would be totally different, somehow you are supposed to be scared inside - and so you do.
On entering Sacred Danger through a hole in a bush, you are signing an agreement with nature by excepting a possibility of the existence of something that logically could not have ever existed.
Location: Coed Hills, South Glamorgan, Wales, UK Dimensions: H 2.3 X W 3.0 X D 9.5 M
Sacred Danger Part II – immersive multi-channel video-sound installation transferring experience of a physical space (Sacred Danger Part I)
Location: St David’s House, Cardiff, Wales, UK Dimensions: H 3 x W 15 x D 10 m.
(to be shown in London, dimension would be adjusted to OXO Tower)
Multiplicity of screens is mimicking a disorienting nature of Sacred Danger at Coed Hills. Each projector and monitor contains its own sound, while sound of the interaction with Sacred Danger is travelling into the darkness of the vast space from specifically designated speakers in a middle corner. Three suspended screens are flying over a meshed corridor which allows both projections and visitors to travel all the way through. Two monitors on a floor are staring at a fast rotating projection over a ceiling repeatedly insisting that they are scared. Soundscapes composed of an airplane, cows, horses, human voices, wind, rain, steps are merging with violent noises generated by material components of Sacred Danger. Projections are spinning and rotating submerging you into the innermost darkness of your imagination.
Sacred Danger establishes relationships between outside world and a gallery environment. It is an installation that in spite of being physically built changes each visual appearance and sound depending on the time of the day and, therefore, dynamic. It merges physical construction (installation), moving image and performance into the one whole reinventing the very nature of each medium. Therefore, I believe it is to be an important work and passionately want to show it in London as an immersive video-sound installation.
I so much want Sacred Danger to reach wider audiences and feel it is possible with your kind help.
Thank you for your consideration.