PAULO CLIMACHAUSKA

Paulo Climachauska´s wall drawings are often portraits of the building in which they are drawn.
The most distinguishing feature of Paulo Climachauska’s wall drawings is neither their size nor their subject matter but the fact that the drawings are constructed entirely of subtractions, which is only revealed on close inspection. Each line consists of a number of figures that are subtracted until the sum is zero. As a viewer, one is first struck by the effort, precision and brainwork that have gone into the drawing.

In response to Climachauska, I want to make line drawings using data that is specific to an area. So, for exaple, I could create a drawing of a building at uni and drawing it using the location co-ordiantes and the data used to be able to track myself to get there.

SHOHEI FUJIMOTO

Live AV and installation artist Shohei Fujimoto takes the very structure of light as the basis for his artworks, translating its physical properties into intricate, evocative visuals.
His work density compression [2020], Fujimoto turns his attention towards fundamental behaviours of visible light, focusing on straight lines and reflection. By representing light as a dense network of lines travelling in limited space, the artist renders light as a physical object, allowing him to explore and ultimately change its basic behaviour.

His use of data and light in installation and video work is ultimately what I would like to achieve. The simplicity of the aesthetic makes it easy to create a dense overall product which can transpose well to fill a closed environment.

LAWRENCE WEINER

Lawrence Weiner’s texts have appeared in all sorts of places over the last five decades, and although he sees himself as a sculptor rather than a conceptualist, he is among the trailblazers of the 1960s to present art as language. He defines his sculptural medium simply as ‘language + the material referred to’ in the sense that language is a material for construction.

Weiner’s use of words within an inside place is something I want to be able to achieve with my coordination drawings - I want to try do the coordinations and number straight onto the walls of a space.

JENNY HOLZER

Jenny Holzer is an American neo-conceptual artist, based in Hoosick, New York. The main focus of her work is the delivery of words and ideas in public spaces.
The public dimension is integral to Holzer's work. Her large-scale installations have included advertising billboards, projections on buildings and other architectural structures, and illuminated electronic displays. LED signs have become her most visible medium.
Text-based light projections have been central to Holzer's practice since 1996. As of 2010, her LED signs have become more sculptural. Holzer is no longer the author of her texts, and in the ensuing years, she returned to her roots by painting.

Holzer’s use of light projection mapping onto buildings is exactly what I want to achieve with my coordination animations.

Kurt Laurenz Theinert

Virtual Piano:

Fine lines of light scan the walls and condense into moving networks that surround the viewer like the room simulations on a giant computer screen. White, rectangular areas replace the lines. At first tiny, then suddenly as tall as a man, they flash up like a stroboscope in unforeseen places - deforming, turning over, "dancing". Finally, lines and surfaces merge into pulsating patterns of psychedelic colours and crystalline forms - and after they disappear, the viewer is left in a veritable frenzy of colours.

Krzysztof Wodiczko

Krzysztof Wodiczko is renowned for his large-scale slide and video projections on architectural facades and monuments.

Atomic Bomb Dome, Hiroshima, 1999
The projection took place on August 7–8, 1999, the 54th anniversary of the atomic bombing of Hiroshima. The background was formed by the Atomic Bomb Dome, the only building located close to the epicenter of the explosion that wasn’t completely destroyed. On the embankment of the river Motoyasu at the foot of the Dome’s ruin, today known as the Hiroshima Peace Memorial, the artist projected magnified images
of the hands of the explosion’s victims, while their recorded testimonies were played back through loudspeakers

Mark Leckey

O' MAGIC POWER OF BLEAKNESS

Composed of new and existing work, this exhibition is an atmospheric, theatrical experience of spectral visions, sound and video.

Mark Leckey transforms Tate Britain’s galleries with a life-size replica of a motorway bridge on the M53 on the Wirral, Merseyside, where the artist grew up. The bridge – a recurring motif in his work – is the setting for a new audio play. Focusing on a group of teenagers, the play is inspired by folklore and stories of changelings and ‘fairy raids’ and by the artist’s own pre-adolescent experiences.

Leckey's use of bringing the exterior back into the interior is exactly what I want to achieve with my projection installation. Reimposing the buildings and locations somewhere else. So you know what the context is, but it then creates an illusion when the context is put into a location that it wouldn't normally be.

Refik Anadol

Liminal room
Pladis: Data universe
Infinity room:

Temporary immersive environment experiments

Immersion = star of consciousness where an immersant’s awareness of physical self is transformed by being surrounded in an engrossing environment, creating a perception of presences in a non-physical world

he uses large collections of data and machine learning algorithms to create mesmerising and dynamic installations

Anadol is working in the fields of site-specific public art with parametric data sculpture approach and live audio/visual performance with immersive installation approach, particularly his works explore the space among digital and physical entities by creating a hybrid relationship between architecture and media arts with machine intelligence.

Richard Wright

The Stairwell project 2010
Turner prize 2009
The Modern Institute, 3 Aird's Lane, Glasgow

Wright’s new work at The Modern Institute subtly responds to the architecture of the space and its primary source of light. Each of the four rectangular skylights house a steel frame comprised of nine individual panels

best known for his site-specific yet transient works that unite painting with graphic and typographic elements, charging architectural spaces with a fourth dimension of subtle yet extreme optical complexity and subverting the traditionally static dynamic between painting and viewer

iMapp Bucharest

The video mapping contest iMapp Bucharest, which lights up the famous Palace of the Parliament every year.

Throughout the five editions, the festival brought together audiences of over 300,000 spectators and became a reference event for international audio-visual industry specialists.