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The TEST: Concept





TEST: is about exploring the expressive limits of light, sound, and space. Existing somewhere between performance and installation, TEST: creates a volatile montage of images and sound that unfolds within a given space, engulfing the viewers senses. Making use of large scale projections and layered fields of sound, each piece is staged live. Rising sonic movements and automated photographs accelerate to achieve a precarious state of animation. Our sustained visual narratives are forcefully flung against moments of complete sensory havoc.


TEST: is visual art in three dimensions working with the variables of space, time and sound. Through this we can eliminate the restrictions set by photographic paper or the projected image. It is also a "holodeck" for the subjects/citizens of the digital world, who are asked to walk away from their terminal monitors and experience something that is of the computer, but is not in itself, the computer. As the co- creators of the experience the viewer experiences interactivity outside the bounds of the computer monitor.




Individual strains of images, sounds, and ideas are collected, organized, and then propelled into space. A reliance on obsolete and custom-built technology insures the need to improvise. The material has a life of its own. Chance and serendipity play a large role in determining the final manisfestation of the performance. Each event is an original creation which emerges from combinations of sight, space and sound. These elements contain unique circumstances whose sum is greater than the whole.



The image cast forth from a slide projector is the central element of each composition. Pictures are taken from the external world and used to create a new, impermanent environment. The static image is mechanically accelerated into the fluid stream of the sequence. These sequences move to form spontaneous combinations. Digital control over the tempo and placement of these combinations ultimately allows the manipulation of visual narrative. Each piece reflects a desire to escape the limitations of photography while resisting the temporal reality of cinema.




Sound creates a visceral connection with the viewer. Amplified soundscapes mirror a projected visual world. Disembodied field recordings are merged with abstracted noise to create loud, rhythmic composition that propel the experience. Emphasis is placed on insuring that the viewer is always consumed by loud, spatialized sound.



Images and sound converge in a space, allowing a public interaction with the work. Large scale projections fill the space on a larger than expected scale, often defying the viewers attempts to see it all in one glance. Inert surfaces become activated by projected light. New horizons, windows and unexpected planes emerge out of previously undefined territories.




Last Update : 10 / 31 / 02  |  © Gregory Cowley 2002