Bri -Materialistic

 3/29/26 - Finalized Ideas

I agree that I have been too wishy-washy on my ideas for this project (this is something I want to work on next year), so I wish to make the crane idea for the sake of time, transport, and space.

The birds: I like the idea of having the smaller cranes possibly trail from one wall to the next, but I am worried about the height of the moving walls not allowing enough space for the cranes if tall people walk through them. It could be that the birds converge and get smaller as the viewer leaves the tunnel, so the birds are trailing migrating off into the distance as the viewer leaves the installation. Also, what if my birds are like a zoetrope that follows the movements of a sandhill crane as it walks and takes flight? As the viewer walks through the tunnel, they follow along with the movements of the birds as they take off. These designs would also be mirrored on both walls, possibly with slightly different poses, but mostly the same on both sides. 

Tunnel: I would like to paint the general gradient of a sunrise within the confines of my tunnel, with blues fading to yellow and orange, but I am unsure if the walls could become too busy with both the paint and birds. This effect could be accomplished with dyed fabric rather than paint for easier deinstallation. Or I could scrap having different colors to keep it simple and just play with what my lighting could do. I think I will make some color sketches to decide on if a sunrise is needed or if lighting can do the heavy lifting. 

The Gravel: I agree that having physical gravel could become a hazard. I'm curious if I could somehow glue rocks to chipboard or tarp to make modular pieces that aren't messy to clean up. They would just follow the edges of the walls and leave a path in the center, similar to the installation we visited in the museum. If this isn't possible or too time-consuming, I could just rely on sound. 

Sound: I'd like to include sounds of footsteps on gravel that are faint in the background to give the illusion that the viewer is walking on gravel or walking alongside my brother and I. I also agree that the sandhill cranes need to be somewhat faint and almost distant. 

3/5/26 - Refined Ideas

Over the course of the week, I have realized that I am not super happy with or excited about my original idea for this project. It just seems like a lot of hassle and will be a pain to make, store, and ship. The new idea I have in mind seems more enjoyable to make and would be more doable in our timeline. For this idea, I am thinking of trying to capture the sense of what it was like growing up at home in the Wyoming countryside, specifically, the peaceful fall mornings when my brother and I would walk down the end of our long dirt road together to meet the bus. One of the most prominent components I remember is the coos of the sandhill cranes that would fly overhead and rest in our grandfather's field nearby. 

To replicate this moment, I want to laser-cut a flock of Wyoming birds I see at home (probably all sandhill cranes after thinking about it more while writing this). I'd like to have 3 or 4 variations of birds, all in different poses, with some just taking off and others flying that will trail down the wall and eventually become smaller as if flying off into the distance. I'm curious as to how thick a material the laser cutter can go through, because I think this project would be best with some stiffer material than the chipboard. These pieces will all be separate so they can be hung up and taken down easily, but will also store flat and be light. I'm considering adding some paint to the etchings as well to add some extra detail to the birds.

The walls for this project will be positioned in a way that makes a tunnel between the stationary wall and the moving walls. possibly with a light blue colored sheet or fabric over the top that gently filters light through it. If possible, I want to paint the walls in a gradient that mimics the sunrise, probably being more of an abstract representation rather than true to life, so the room feels immersive, as if the viewer is taking an early morning walk. I'm also wondering if I could lay some small gravel on a clear tarp on the ground in the tunnel to portray the sense of walking down our dirt driveway. 

The final component that will bring the whole thing together is having 4 speakers play the coos of sandhill cranes (and possibly other birds), hidden behind my cutouts.

The sketch below is not blobby penguins, but an abstraction of the above sketch to show the layout of the walls to make the tunnel for the viewers to walk through.

New Materials List: 

• chipboard or a thin wood
• paint (yellow, orange, blue)
• blue or white sheets
• fine gravel
• clear tarp

However, I understand that it isn't fair to others to change my idea now, so I have a few new iterations of my original concept that make it more immersive. The first is making more cones that can hang from the ceiling and the wall to cover the corner of the gallery by the window in a wave of cones seen below). I would try to make 30 - 40 of these forms to fill the space, but it is possible that I may need even more than that, which makes this idea harder to accomplish in the time we have. 

The second new iteration I have is to make a hallway/tunnel with the moving walls and stationary walls that are covered in the cone forms, so the viewer is surrounded when they enter (below). I would like to make a ceiling out of fabric from sheets or something else that is long and wide to filter light from the spotlights into the tunnel so there is a soft ambient light. To help with time constraints, I have considered having the cones nearest to the window slowly fade into illustrations on the wall or flat cutouts made from chipboard or cardboard to still fill the space but reduce the amount of work needed. 

I would like to engineer the cones to be able to slide over the metal rods so they can be packaged separately. I'm also curious if the rods should be short and not visible or if they should look like plant stems. I'm worried that if they are too short, it would be a little too similar to your show in Fort Collins, but the shorter rods would be less time-consuming.

Brianna,

I appreciate your honesty here. Realizing that an idea is not sustainable or engaging for you is an important part of the process. The concerns you’re raising — making, storing, shipping — are valid, and they are exactly the kinds of things working artists have to consider.

That said, we are at a point where you need to commit to one direction and follow it through.

Your new idea has a lot of strength. It is:

• Personal and specific

• Spatial (the tunnel is a good instinct)

• Atmosphere-driven

• Much more feasible in terms of fabrication and storage

The memory of walking to the bus and the sound of sandhill cranes is clear and grounded. That specificity is what makes it compelling. Stay with that.

A few things to refine if you move forward with this direction:

First, the birds. The trailing flock that shifts in scale is strong. Be careful that it doesn’t become decorative. Think about how they activate the space:

• Do they move across both walls?

• Do they cross the viewer’s path?

• Do they feel like they are moving through you, not just along a surface?

Second, the tunnel. This is where the installation really happens. The walls and ceiling need to:

• Compress the space

• Guide movement

• Control light

The fabric ceiling filtering light is a good move. Keep it simple and intentional.

Third, the gravel. This is effective conceptually, but think carefully about logistics:

• Safety (slipping, shifting)

• Cleanup

• Sound (which may actually be a benefit)

If it becomes too complicated, you may need to suggest the ground rather than literally recreate it.

Fourth, sound. The cranes are the emotional anchor. Keep it subtle and spatial. You don’t need it to be loud — just present enough to locate the viewer in that memory.

Now, regarding your original cone idea:

You are right — 30–40 cones is likely not enough to fully activate the space, and making more is not realistic in the time we have. The tunnel version improves it, but it still requires a significant amount of fabrication and may not resolve as strongly as your new idea.

Also, your instinct to make the cones modular is good — but again, that’s adding engineering time on top of fabrication time.

At this point, I would rather see you execute one idea well than struggle to complete a more complex one.

So my recommendation is:

Choose the crane/tunnel installation and commit to it fully.

It aligns better with your timeline, your interests, and the level of resolution I want to see from you.

2/17/26 - Materialistic Ideas 

Joris Kuipers: Paper and wood-based installation

Website

 Joris Kuipers' style combines painting and sculpture through the utilization of hand-painted laser-cut shapes that are combined to make larger organic forms suspended in the air.  His colorful compositions bring the beauty of nature indoors, offering a sense of calm, wonder, and connection. Joris celebrates nature’s organic forms through dynamic and lively installations that energize interiors.

For my own installation, I have been interested in utilizing paper or wood components that are suspended in the air or held on the end of steel rods. I like Kuipers' use of color and plant-like imagery to transform a space and liven up a neutral colored space. 

Jardins Suspendus, Aluminum Alloy, Acrylic Paint, 2026

Floral Abstraction III, Acrylic paint and gold leaf on wood, 2019

Jardin Supendus I, Acrylic paint on wood, 2012

 

My Ideas:

I have been struggling to get any ideas down that I liked because most were either too complex for the time we had or too simple, so I didn't feel they reflected my work ethic or pushed my skills. I finally found one today that uses some of the forms of my wood and paper piece but are made with materials that are quicker for me to use while also filling the space. I plan on making multiple conical shapes that are held up by steel rods, either welded to plates, with three branching feet or welded to other cones to make interconnected bundles. They will stand at around 1 - 1.5 feet tall when complete. The cones themselves will be around 4 inches tall with a 2 - 2.5-inch opening made from chicken wire and plaster gauze, cast paper, or rolled/forged steel sheets. I would like the cones to stay a white color to match the walls (possibly with some dry brushing of other tones of grey) while having pops of color within the inside of the cones with purple colored fluff of various shades. I'm unsure if I should use fluffy faux fur or wool roving for the texture on the inside. 

With this installation, I would like to portray the feelings of unity and interconnection, with each form being different yet visually connected to the others. I also want this area to provide a sense of peace, like standing in a field of flowers. To push this, I wonder if having some sort of sound playing would help, like the rustling of plants or a gentle breeze. 

Examples of the cone forms standing up and with texture on the inside.

This image is the sketch for how I would like my pieces to be displayed, with some being attached to the walls and floor. I'm curious as to how this installation could look if I hung some of the cones from the ceiling (It might be too much going on.)

Materials List:

• Steel rod (30 - 40ft)
• steel sheets?
• chicken wire
• plaster gauze or paper
• faux fur or various bundles of purple roving

Bri,

You are thinking carefully about material, and that shows. I appreciate that you’re considering scale, repetition, structure, and fabrication time realistically. That’s mature decision-making.

However, right now this still reads as a series of sculptural objects placed in a space rather than an installation that transforms the space.

The cones themselves are interesting forms. The contrast between a restrained white exterior and a saturated interior has potential. The idea of unity and interconnection is strong — but that concept needs to show up spatially, not just symbolically.

A few things to consider:

1. Scale + Quantity
If the cones are only 4 inches tall and mounted on 1–1.5 ft rods, they risk feeling like a field of small sculptures rather than an immersive environment. Installation depends on density and repetition. How many are you realistically making? Ten will not change a room. Twenty might begin to. Think about volume and how it alters space.

2. Spatial Activation
Right now, they appear to stand upright like specimens. What happens if:

• Some lean?

• Some cluster tightly?

• Some emerge from the wall?

• Some interrupt the viewer’s path?

• Some hang at eye level?

Ask yourself: what does the room feel like when someone walks in? Are they navigating? Surrounded? Immersed? Installation is not just repetition of forms — it is how those forms reorganize space.

3. Steel Rods + Structure
Be careful that the rods don’t visually dominate unless that’s intentional. Are they purely structural, or are they conceptually part of the interconnection? If unity is key, perhaps the rods physically connect forms rather than simply holding them upright.

4. Interior Material (Fur vs. Roving)
Faux fur could quickly read decorative or artificial. Wool roving may feel more organic and restrained. Given your reference to a field of flowers and calmness, subtlety may be stronger than spectacle.

5. Think Beyond the Making
I also want you thinking about the life of this piece beyond critique.

• Where does this live after deinstallation?

• Does it break down?

• Are the rods detachable?

• Do the cones slip on and off?

• Can bases stack?

• How does it transport?

• If shown again in five years, will it hold up?

If everything is welded permanently, this becomes bulky and difficult to store or ship. Installation artists think about disassembly and modular systems. If unity and interconnection are your themes, perhaps the system itself reflects that — components that connect and disconnect, adapt, and reconfigure in new spaces.

Right now you’re designing forms. I want you designing a system — spatially and structurally.

Let’s talk through density and a modular strategy in person so this moves beyond a collection of objects and into a resolved installation.

Madelynn - Materialistic

3/29/26

This past week marked the final stages of Inside the Pulse, and my focus shifted from simply adding more elements to refining how the space feels and functions as an immersive environment. Taking my earlier progress and my class feedback into account, I began to think more intentionally about spatial control, density, and the emotional experience of being inside the piece.

One of the most impactful changes I made was adjusting the lighting. Instead of isolating color to certain areas, I expanded the lighting so that it washes over the entire room. The blend of reds, pinks, and blues created a more cohesive atmosphere while also casting dramatic, shifting shadows from the veins. These shadows became just as important as the physical structures themselves, extending the forms across the walls and making the space feel more alive and unstable.

To push the conceptual depth further, I introduced text into the shadows of the veins. Rather than placing words directly on the walls in an obvious way, I used the shadows to hold these phrases so that viewers have to move closer and engage more intentionally with the space to read them. The sentences included:

• “My heart issues are burdening”

• “Being in the hospital makes me anxious”

• “My body is rejecting me”

• “I feel like a liability”

• “Everyone thinks I am fragile”

• “I wish I was normal”

• “My scars make me insecure”

• “Taking these medications every day is overwhelming”

This addition helped anchor the installation more firmly in personal experience, making the emotional undercurrent of the work more visible while still maintaining a sense of discovery.

These changes made me think more carefully about how everything was placed and how the space functions overall. Instead of spreading the veins out evenly, I started creating areas where they cluster together and make the space feel tighter and more overwhelming, balanced with spots that feel a little more open so the viewer can breathe for a moment. Some veins stand out more and immediately catch your attention, while others fade into the background. I also pulled apart the yarn so its threads stretch across the walls, branching out like smaller veins. This helped connect parts of the installation and made it feel like the body was expanding beyond itself.

Looking at the final piece, I feel that it has moved closer to what I initially envisioned, an environment that is not just seen, but felt. The combination of lighting, shadow, text, and sculptural elements creates a space that reflects both the physical and emotional realities of living inside a body that feels unpredictable. It no longer feels like separate pieces on a wall, but instead like one continuous environment that the viewer steps into and experiences as a whole.

3/23/26

This past week was spring break, and it started off strong in terms of progress on Inside the Pulse. At the beginning of the week, I made five new veins, varying in size and color, which will help add more depth and variation to the installation. I also was able to put up two more bigger veins in the gallery during this break. Each vein continues to build on the organic, immersive environment I’ve been creating in the space.

However, the rest of the week ended up being focused on moving, which took up most of my time and energy. Even though I wasn’t able to make as much progress as I had hoped, I still feel good about the work I was able to complete at the start of the break.

Moving forward, I’m looking forward to getting back into the studio and continuing to build onto the installation so it can keep evolving up until Fridays reception.

Madelynn,

It sounds like you made solid progress at the beginning of break, and the addition of more veins—especially varying scale and color—is helping build the environment. That variation is important. It keeps the space from feeling repetitive and starts to give it more depth.

The introduction of blue alongside red is a good move visually, but I want you to be careful here. If it becomes too literal (arteries vs. veins), it can shift from an immersive experience into something more diagrammatic. Make sure the color is serving the atmosphere, not just anatomical accuracy.

The sound element is doing important work. The irregular heartbeat is what grounds the piece conceptually. Keep it subtle. It should be felt as much as heard.

Moving forward, I want you to focus on density and spatial control.

Right now, you are adding elements, but think about how the room is behaving:

• Are the veins beginning to compress the space?

• Do they guide movement or interrupt it?

• Are there areas that feel too open compared to others?

• Does the viewer feel inside something, or just surrounded by things?

The success of this piece will come from how fully you commit to that immersion.

Also think about hierarchy:

• Are some veins more dominant than others?

• Are there moments of tension vs. moments of release?

• Where does the eye (and body) go first?

You’re close, but this is the stage where you need to push it further—not just add more, but place more intentionally.

3/16/26

This past week I continued working on Inside the Pulse by making more veins for the installation. I started adding blue veins to go along with the red ones that were already in the space. I wanted to include both colors because veins and arteries are realistically red and blue in anatomy, and I thought that visual contrast would help the room feel more like the inside of a living body. After finishing them, I installed the new veins on the gallery walls, which helped fill out the space and made the environment feel more immersive.

I also worked on the sound element for the installation. I chose a realistic (irregular sounding) heartbeat audio file and sent it to Ashley so it could be set up to play in the room. My goal with the sound is to add another layer to the experience. When viewers walk into the space, they will not only see the veins surrounding them but also hear the heartbeat, which helps create the feeling that they are stepping inside a living heart.

Overall, the piece is continuing to grow as I add more veins and bring together the visual and sound elements. Each change is helping the installation feel more complete and closer to the experience I originally imagined.

3/9/26

During the past week and over the weekend, I focused primarily on creating and gathering materials for my installation, Inside the Pulse. A large portion of this time was dedicated to making the veins that will eventually cover the walls of the space. Early in the week, I gave Broc (who has been helping me with the project) some materials so he could begin making veins as well. Throughout the week, both of us worked on producing a number of them.

On Tuesday, I reached out to my Lighting Professor, Jason Banks, to ask if I could borrow some lighting gels from the Theater Department. They have a much wider range of colors than what we had available in the Visual Arts Building, and I thought having more options would help me refine the atmosphere of the installation. The following day I visited the lighting room and looked through their collection. I ended up selecting multiple gels in oranges, reds, magentas, and blues that I felt would complement the environment I’m trying to create.

Later that day, Maggie also helped me continue making veins. Even though she was busy working with Delaney on another project, she still took the time to assist me, which I really appreciated. At this point, my main goal was simply to produce as many veins as possible so that I could begin installing them on the walls while also experimenting with the lighting colors I had gathered.

On Saturday, I helped Megan take down her installation. This ended up being a really valuable learning experience because I was able to see how to properly remove screws and nails from the walls and organize materials so they can be easily transported and reused. I also enjoyed the opportunity to talk more with Megan and learn about her process.

Later that day, I traveled to Rawlins with several of my pre-made veins that still needed to be wrapped in yarn. My plan was to recruit some extra help from my family, and thankfully my sister Iyanna and our friend Ivy agreed to help. After spending some time together, we sat down and wrapped the veins with yarn. They did a great job, and I think their help actually improved the variety and texture of the veins.

That evening we traveled back, and the next day I began installing my piece in the Visual Arts building’s gallery spaces. Originally, I had planned to install the work in the “This” room, but Delaney needed access to the upper grid for her installation, so we ended up trading spaces. I didn’t initially realize that the “This” room only had six lights compared to the eight lights available in the “That” room, so I had to adjust and work around that limitation.

My fiancé helped me install the lighting gels, and once that was finished Broc arrived to help me begin pinning the veins onto the walls. This part of the process was especially enjoyable. Having multiple people looking at the space and helping physically shape the installation made the process much more collaborative and allowed the environment to develop more naturally.

Now that the initial installation is in place, I’ve asked Broc (and possibly Maggie if she’s still interested) to continue helping me make more veins. My goal is for the piece to gradually evolve over time as more veins are added to the space. Over the next few days, I will also begin searching for and editing irregular heartbeat sounds to play within the room. The goal is for visitors to not only see the interior of the heart but also hear it. I want the installation to create the sensation that viewers are stepping inside my body (specifically my heart) through both the visual environment and the soundscape.

I also documented the installation by taking lots of photographs and sent my finalized title and poster image to Ashley.

Overall, I’m incredibly grateful for the help and support I’ve received throughout this process. I’ve already learned a lot about installation work, collaboration, and adapting to unexpected changes, and I’m excited to see how the piece continues to develop over the next two weeks. Ultimately, my goal is for Inside the Pulse to create an immersive moment where viewers become aware of their own bodies and rhythms while experiencing what it feels like to stand inside the vulnerable, unstable space of a living heart.

3/1/26

This weekend, I gathered all my supplies and dove into creating what can be called the “architectural” veins. I’m experimenting with a mix of materials, different colors of fabric, various threads and yarns in reds, blues, and magentas, and floral wire. The process actually began on Friday, when I went to Keely, Megan, and Amelia’s installation opening. I was especially drawn to Keely’s work, I wanted to understand how she created some of the organ-like textures in her piece. When I asked her, she explained it was wrapped fabric with string coiled around it. That little insight sparked a new direction for me. I realized I could use a similar technique for my veins: wrapping fabric with string to create physical structures that feel “architectural,” while still leaving room to paint most of the veins onto the surface.

It’s exciting to think about the balance between physical and painted veins, how some can stand out in three dimensions, while others will remain subtle, flowing across the walls. This weekend was all about experimenting with materials and thinking about texture, form, and color. I can already see how this approach will give the veins a sense of life and structure that painting alone might not achieve.

2/26/26

After reading the feedback on Tuesday, I decided to continue developing Idea #2 because it feels more personal and emotionally grounded than my other concepts. Since this installation connects to my experience with anxiety and having a pacemaker, I think it has the strongest potential to create a meaningful atmosphere rather than just an abstract visual space. After talking through ideas with Ashley today, I refined the concept into two related installation possibilities.

The first idea is transforming the entire room into the inside of a heart. The walls would be covered in clear tarp or skin toned fabric with veins painted across them so the space feels organic and immersive. Some of the veins may include visible wires to reference my pacemaker and the mechanical support connected to the body. The lighting would saturate the room in red (possibly with subtle blue tones), and the sound design would include an irregular heartbeat to reinforce the emotional tension and physical awareness of the body.

The second idea builds on this environment but adds a physical focal point. In the center of the room would be a small podium holding a felt heart. Wires would extend from the heart outward into the vein-covered walls, visually connecting the central object to the surrounding “body.” This option emphasizes the relationship between the organic and the artificial, and it makes the pacemaker reference more literal. The irregular heartbeat sound would continue to shape the emotional atmosphere.

Based on the feedback about restraint, I am starting to think more about limiting the elements to focus on what actually drives the emotional experience. The central emotional mechanism is the feeling of internal awareness, being inside the body while also being aware that something is slightly off or unstable. More specifically, the piece explores the tension between loss of control and stabilization, represented by the contrast between a natural irregular heartbeat and the presence of a pacemaker helping regulate it. The irregular heartbeat and saturated lighting would physically affect how the viewer experiences the space, encouraging them to slow down and become conscious of their own body.

Over time, the experience could shift through subtle changes in sound or lighting intensity, moving from calm to more irregular patterns to reflect anxiety building.

Right now, I am leaning toward combining painted vein walls and sound as the main elements, with the central heart object as a possible addition if it strengthens the focus rather than overcrowding the space.

Maddie,

This is a strong refinement. You’ve moved from “immersive mood” into a clearly defined emotional mechanism — internal awareness and the tension between instability and regulation. That’s the right shift.

The heart-as-room concept works because it is embodied, not symbolic. The key now is restraint and clarity.

A few things to consider:

1. The Room as Body
If you transform the entire room into the inside of a heart, commit to that fully. The veins should not read decorative. They should feel structural — almost architectural. Think about scale and placement carefully so the viewer feels inside something, not just surrounded by painted lines.

2. Wires and Pacemaker Reference
The visible wires are conceptually strong, but be careful they don’t become illustrative. They should feel integrated, not attached. Subtlety will make the mechanical/organic tension more powerful.

3. Central Heart Object
Right now, the room-as-heart may be enough. The felt heart on a podium risks becoming literal or pulling attention away from the immersive experience. Ask yourself: does the space need a focal object, or does that reduce the viewer’s bodily awareness?

You may find that removing the central object strengthens the work.

4. Sound + Light
The irregular heartbeat is doing the conceptual work. Keep it restrained. Avoid dramatic volume shifts. Subtle irregularity will be more unsettling than obvious spikes.
With lighting, saturation is fine — but test how much red becomes overwhelming rather than immersive.

5. Shifts Over Time
Subtle changes are stronger than theatrical transitions. Anxiety builds gradually. Let the sound and light reflect that.

The strongest sentence in your post is this:

The piece explores the tension between loss of control and stabilization.

Stay with that. Every decision should support that tension.

Right now, I would encourage you to simplify:

• Painted/veined walls

• Subtle red lighting

• Irregular heartbeat

Add the central heart only if the space feels incomplete without it.

You’re very close to something focused and embodied. Keep editing. Proud of you!!

2/19/26

Idea #1 - Emotional Response Room

For my first idea, I designed an Emotional Response Room based on my reaction to the Epstein files and the public response surrounding them. After reading some of the released emails and documents, I felt a strong sense of anger, disgust, and frustration. It also feels like the topic has been pushed aside or emotionally numbed over time. I want this installation to explore that emotional cycle… how outrage can slowly turn into overwhelm and then into numbness.

I was heavily inspired by the installation work of Olafur Eliasson and James Turrell, especially their use of light and atmosphere to shape how a viewer physically experiences space.

The room would use fog and strong lighting to create a slightly claustrophobic environment. The lighting sequence would move from red (anger, chaos, exposure) into blue (sadness, emotional fatigue, numbness), followed by a blackout, and then repeated. This looping structure represents how public attention and emotional response often cycle and fade.

I am also considering projecting or painting short phrases or words into the space using opposite-color lighting. For example:

• During red lighting: phrases like “pending,” “under review,” “no comment,” and “insufficient evidence.”
• During blue lighting: phrases like “remember,” “pay attention,” and “this still matters.”

Sound and projections may also be layered to increase the sense of emotional overwhelming.

Idea #2 - Internal Anxiety / Heart Space

For my second idea, I wanted to explore something more personal by focusing on my own experiences with having a heart condition. Unlike a temporary illness, it is something that is always present, even when it is not visible. This installation would explore the constant background feeling of anxiety and physical awareness that comes with that. This idea is very similar to Project 1, “Small World.”

I was inspired by the sculptural material work of Eva Hesse and again by the atmospheric lighting environments of Olafur Eliasson. I am interested in combining soft materials such as yarn or string with fog and lighting to create a chaotic and slightly claustrophobic environment.

The yarn would hang throughout the space, creating layered visual tension and forcing the audience to physically navigate through it. A heartbeat sound would play continuously, possibly shifting tempo to reflect anxiety or irregular rhythm. Lighting would pulse subtly with the sound to reinforce the connection between the body and the environment.

This piece would focus on the idea that internal experiences, especially medical or emotional ones, can be invisible but still deeply present.

Idea #3 - Fabric Reflection Room

For my third idea, I am considering a quieter and more reflective installation space that still connects to emotional and bodily awareness. I was inspired by the immersive fabric environments created by Ann Hamilton along with the lighting and texture-based environments of Olafur Eliasson.

This installation would use hanging red fabric to surround the viewer and create a soft, enclosed environment. A beanbag chair placed in the center would encourage the viewer to sit and physically settle into the space, making the experience slower and more personal.

Fog, soft lighting, and sound would be used to create an immersive atmosphere. Depending on the final direction, the room could function either as:

• a reflective emotional space
• a symbolic internal body space connected again to heart awareness

Sound could include low ambient tones or a subtle heartbeat to reinforce the sense of presence and connection to the body.

 

Inspiring Artists

Olafur Eliasson - https://olafureliasson.net/

James Turrell - https://www.pacegallery.com/artists/james-turrell/

Eva Hesse - https://www.hauserwirth.com/artists/2810-eva-hesse/

Ann Hamilton - https://www.metalocus.es/en/news/sheer-magic-ann-hamilton

Okay, Madalyn, breathe deeply in and out right now.