This installation is typically paired with a more frenetic visual piece as so to provide some direct antithesis and a strong sense of dichotomy.
The piece serves as a moving canvas, gradually transforming throughout the 7 hour period of exhibition into complete abstraction and eventual removal from its original spiralling form. The piece illustrates how our perception can change through time, without our noticing and how what was once immediately recognisable can become eschewed beyond our recognition.
“I enjoy people watching immensely and find this installation to be analogous to that so peaceful act of observation. How we can watch things slowly move around & still remain the same but somehow looking away and returning your gaze can make the changes, however minute, all the more obvious.”
I feel that this experience is a very relatable one that can be applied to many aspects of the human condition, specifically to our relationships with each other and more importantly, our selves.
‘Slow-mover’ installation documentation from Aaron mears on Vimeo.
Installed at Hope Works in Sheffield for Pretty Pretty Good, various instances, 2018-2019
Here’s a few GIFs I’ve made from a collection of screenshots from recent works.
My first fairly simple GIF, made from two frames of densely layered glitchy feedback.
My next attempt contained more frames & at a faster rate but I felt lost a part of its amorphous quality in being so skittish.
My third attempt combined what I liked the most of the previous two, having a vaguely identifiable foreground central shape with a more complex background of layered digital feedback.
Cephalalgia – Ice cream headache
This is the Second portion of a 3-part performance of visuals & sound, combined generative & composed. Performed at the Sheffield Theatre Delicatessen in support of ‘Jefferson Slim Sheik Experience’ for their ‘Cittasamskara’ show.
One of the few pieces containing voice, albeit barely recognisable. Regarding the cognitive dissonance contained within ice cream headaches.
This is the first of a 3-part performance of visuals & sound, combined generative & composed. Performed at the Sheffield Theatre Delicatessen in support of ‘Jefferson Slim Sheik Experience’ for their ‘Cittasamskara’ show.
I wanted each section within the performance to have a defined style. Thus this part refers to calming notions of water, nature, birds, forests, etc. I conceived this piece after discovering a ‘relaxation cassette’ made by my father for one of his clients roughly 20 years ago. I listened to the entire recording & constructed complimentary pieces of sound design to go alongside the narration, as well as utilising existing footage of water used in previous projects. Subverting both to form a new, altogether connected experience.
What do we hear when we listen to sound? What could we see? What would it mean to us? How do we construct this meaning? Through experience? What could we experience? Do we experience the event itself? Or the experience alone?
The installation sought to create a synaesthetic environment through the juxtaposition of colour & sound. Through assigning groups of colour with specific sonic events, a combined aural/visual experience occurs within the audience.
Here’s an interview where I explain it a bit better.
Here’s the tester video I made prior to the installation in order to convey the idea of what it might be like. I was pretty close.