Open Field

  • TITLE: Open Field
  • MEDIUM: Installation
  • COMPLETION: 2009
  • Jean-René Leblanc, Craig Fahner and Neal Moignard

Description

This installation is part of a research investigation into the interactive potential of electromagnetic fields. Theremins – musical instruments played by placing one’s body within the electric field surrounding an antenna are used here to create a week long indeterminate sound recording. Three theremins are placed in an equilateral triangle inscribed in a circular drum. The tones emitted by the theremins are determined by the presence of visitors in the space, changes in electromagnetic activity, and other environmental factors such as temperature. Without human interaction the tones of each instrument drift slowly, sympathetically. The three theremins, initially tuned to the same note, will configure themselves into various consonances and dissonances throughout the run of the exhibition.

What I will always be: The prince, the sheep, the fox

  • TITLE: What I will always be: The prince, the sheep, the fox.
  • MEDIUM: Photography and Interactive Installation
  • COMPLETION: 2010
  • SIZE: Installation Rear Projection 4′ x 5′

Description

The interactive installation is set-up as a split-screen rear projection of 4’ x 5’ occupying 12’ of the galley space. On the right hand side of the screen is a representation of a figurine in 360? slowly turning on its axes, on the left side is a representation of a male in a specific pose. Through the use of Theremins as tracking sensors, the spectator can interact with both images. On the right side one, the viewer can spin the image, the faster the image is spinning it will enable the image on the left to turn. On the left side, a Theremin is used as a proximity sensor to enable the spectator to Zoom the image in and out and Pan left and right.

Theory

This piece combines Digital photography, installation and interactivity as a means of looking beyond the print and screen culture towards a more kinesthetic, tangible experience, creating new connections between spectator, image and technology. The space of the image becomes related to the spectator’s body through the interactive process of spinning, zooming and panning the projected images through bodily gestures.

 

I Love You from A to Z

  • TITLE: I Love You from A to Z
  • MEDIUM: Installation
  • COMPLETION: 2004 – revised 2009
  • SIZE: 61” X 96”

“Why is it that the most unoriginal thing we can say to one another is still the thing we long to hear? “I love you” is always a quotation.”

Jeanette Winterson, Written on the body, 1992

Our lives are filled with perceptual and emotional contradictions. Our fabrication of reality is constructed through the complex process of mediated enculturation. By placing the spectator in front of a series of poetic contradictions I am hoping that the viewer will engage in a self-introspection on the complexities between perceptions and the communications of ones values and desires. The mural piece I Love You from A to Z is an attempt to create a pictorial discursive space in which technology is address as means to dissimulate or enhance the presence of multiple realities.

BRIEF DESCRIPTION:

The 2 top panels are a diptych of an Iraqi soldier kissing an Egyptian soldier. (48” x 34” each, aluminum mounted).

The 2 middle panels are of aluminum (48 1/8” x 18” each) with a cut-out of the Savastika symbol witch is often associated with fertility and regeneration (the origin of the Swastika that has become one of the most feared symbols of the 20th century), the panels have a lighting system controlled by an electronic board that makes the lights blink the phrases I Love You starting from the letter A to Z… in Morse code.

The bottom panel is of Plexiglas (9” x 96”) with the digitally written equivalent phrases of I Love you from the letter A to Z…