ELECTRIC SHADOWS (2009-010)

ELCTRIC SHADOWS is a composition.
The elements are tied together by kinship, proximity, simultaneity and the belief that differing materials appear as a well
moulded whole under the right circumstance, the composition. Eight artists of different backgrounds have left their prints
on this work. Ensuring a multitude of ideas threatening to tear the work apart, artistic magnitude and in consequence an
articulation of the composition. Treating the whole room and everything in it as their material, the group has created a vast
intermedial composition. Always articulating the theatrical potential in their material.

This work features a landscape of highly original sculptures, pre-cinematic animation, puppetry, music, lights and
shadowplay. All objects produce art and are also a part in it. The idea of simultaneous perspectives and multiple functions
tied to each object creates a work of works.

A delightful amount of possible connections across media and layers. Some obvious, planned and controlled. Others seen
bythe single spectator only, weaving her story, from available threads. It is a gratifying experience to lend this work time.
Up close, movable miniatures perform in a theaterlike setting, except everything is exposed. One sees function and the craft
gone into making it. From a distance the veil of illusion is drawn and the work takes on a poetic character, following the
logic of dreams.

Kinetic metal sculptures function as mechanical devices that perform and project. It is shadow heater, animation and
puppetry. Light is directed onto and through miniature glass-figures held by mechanical arms. The figures perform interplays
in the focal point of a lens and are projected onto the wall. This combination of light, glass object and lenses creates an
unusual fine visual quality. The small platform between the light and the lenses becomes a tiny stage where the glass-figures
are performers attached to the tip of small robot-arms.

This platform is the hot-spot or the gravitational point of the instrument/sculpture. A “dark-room” where images emerge
and falls apart. A small laboratory for the spectator to witness the creation of moving images. A closer look is a dive into the
core of the physical building of images. Down to where the image arises, takes on solid form, twists and winds into constellations
and compounded images. Looking up again the viewer sees the finished image projected on the wall. The sculptures are built
using thin materials. See-through, like leafless trees. Lending themselves easily to shadowplay when lit up. The movable lenses
and arms become limbs on an organism.

Metal has the advantage of strength. We focus on slim materials for our sculptures. See-through and fine or coarse.
Welding at 25 amps to make the 2mm rod fit to the bearing. A fine line between sculpting and practicality. An attentive spectator will notice the sculptural quality in the seems of metal. Appearing only as minute details in the spectacle of the work as a whole. But crucial for the aesthetic appearance and as mere functionality.

We are now closing in on the point where composition and directing join in an awareness of the architectural possibilities.
Creating the good room, laying the grounds for transformations on small patches and grand scale. Making sure everything
is tuned to the motion of a grand form. A form of state and motion, minuscule focus and large-scale environments absorbing
the spectator. At times the stillness is enough. The presence of sculptural will is an easy force on the audience. The attentive
will be rewarded by the richness of choice. The cable falling just right, the constancy of cylindrical motors, the fine work-
manship down to hand made nuts and bolts These machines of sound, images and motion are constantly projecting and being projected. Moving as instruments in an orchestra of fallible, and therefore perfect, tools for art. Art as in seeing the patterns of
non intent, or following the light touch of a thread laid down by Verdensteatret.

As have been the case in several of Verdensteatrets recent works, also this will be a work that only slowly reveals all it’s
secrets, it’s music, images and stories.

By and with: 

Asle Nilsen, Lisbeth J. Bodd, Håkon Lindbäck, Piotr Pajchel, Christian Blom, Kristine Roald Sandøy,
Espen Sommer  Eide, Janne Kruse, Jannicke Lie.

Short description of two of the kinetic instruments/sculptures in this work:

Apparatus 1

In its simplest form it is a combination of objects for shadowplay and animation. A source of light, an object, a lens and a wall to project on. The object is made of string and glass. Lending a depth to the quality of the projection, a physical quality of the light. In the round spot of light on the wall it’s as if the spectator peeks into some other place. There’s a film running in the background.
Ancient city-scapes glide by. The transparent images on the film is physically moving from one reel to another on the Apparatus.
On the wall, in the circular projection, it’s as if the figures move through the city. Walking down the streets, stopping, starring,
commenting. The figures are attached to robotic arms. With their aid they move in and out of the projection, and in and out of
focus. The projection becomes a stage, a centre of attention. The lens is moving, gliding along a depth perspective it focuses on
an array of objects lined up, focusing through them. One after the other they come into focus and disappear in a mist. Shifting to
other lenses, two more lenses are available as windows. Helping to uncover this world. The glass shapes turn up in small ovals
and circles of light, a little of the central projection. The figures move between and inside these places, suggesting stories.

Apparatus 1 is this. Light, object and lens. Robotic arms, more lenses and more objects. Purposefully creating their little plays
in the projection.

A little to side of this machinery sticks are moving. Initially made as custom joysticks for the control of each robotic arm, thought
to be useful only in a performance. The joysticks are now moving by themselves. Needless, useless and as a part of the larger
kinetic sculpture, branched of. Leading the string and glass objects to whatever vital part they play. And you can cut the light.
Leave the projection. Pull the curtain on the round and oval spots of stage, and set a light from the side. The Apparatus is now
an ensemble for shadowplay and a dancing sculpture. The arms, lenses and joysticks all become creatures in a world of shadows.
Rhythm, degree of movement and complexity gives the impression of the Apparatus as an organic creature. A contraption for
projection revealed as an organic creature.

....…Apparatus 1…..

…Apparatus 1 seen through one of its lenses…

“The funeral service machine”.

At first sight it’s a treelike sculpture. The stem consisting of old bicycle parts, branching out, with wheels for a crown. The wheels have motors and sensors. Their spinning is connected to the room as controllers. The wheels are in control of sound and image. Dressed in flowers for a funeral the wheels spin and play music, as if in a band following the deceased to her grave. A machine for funeral services; producing funeral marches, memorial songs and hymns, providing flower etiquette and other ceremonial needs…automatic, all at the same time.

The wheels on the cluster also control videofilms on the walls. One wheel pushes in a Zeppelin and sends it gently floating through the room. A half turn from another wheel and it sinks dangerously close to the ground. Yet another wheel turns and a giant seagull flaps its wings. The tempo and persistency of wheels drive the room. Around and around.

…The cluster of wheels / a funeral service machine

The control system

The art of programming. To consider the need at hand and then deciding on the fit tool for the program, the fit trail of thought
to elaborate on, and finally to dress it for the purpose; a shifting purpose. Having to decide which doors to close and which to keep open, not to say which to emphasize. These are the tasks of a programmer for Verdensteatret. To develop a tool that
controls light, motion, video and sound in a composition where these stand aligned. An art, not visible as object or direct
experience, yet crucial to this art. The custom-built control system that makes the new work come alive reflects the nature and
the needs of the installation.It allows fast sketching, easy editing, effortless expansion and total control of rather complex material. It never really closes any door to change and further development on any level. The installation as of today; a composition
for space, sound, video, light, shadows and multiple kinetic sculptures, -strange nondescript objects obeying their own precise,
but fragile logic – is still early in its lifecycle. We are now giving it a software companion that allows development without compromises. The control system and software that runs the installation are completely custom-made. Still the programming
environment used to develop it is dangerously immature – we've reached beta 11 now. Based on vague ideas of modular
sequencing, tracks inside tracks inside tracks, the control system has found its form in the very same room as the development
of the objects and the installations as a whole. It has grown and slowly taken on form, developed functions, begotten a name
and carved out an identity.