Ina Conradi

inaconradi © 2009

Post-Museum // Japan

 

'INTERNALEXTERNAL, A solo exhibition by Ina Conradi'
Show Room Post-Museum, Singapore

13 FEB - 8 MAR 2009

‘There is no aspect of life that does not reveal to us an infinity of the new and unexpected if we approach it with the knowledge that it is not exhausted by its visible aspect, that behind the visible there lies a whole world of the invisible, a world of comprehensible forces and relations beyond our present comprehension. The knowledge of the existence of the invisible world is the first key to it.’ (Ouspensky, 1912)

'The eternal center and birth of life.are everywhere. Trace a circle no larger than a dot a birth of eternal nature is therein contained'. Jacob Bohme

‘Internal External’ is a constructed multilayered environment combining video projection, 3D computer animation and space modifiable backlit digital still image. Using dreams as a conceptual motif and adopting simulated natural phenomena such as flow and growth, the work explores organic and natural design leading viewer thorough the aesthetic impression and internal contradictories of a dream states sensibilities. The exhibition space transforms into a constructed environment of tall backlit compositions, inundated with light and vivid imagery simulating an experience of a dream phase.
Click here to see exhibit Animated Flythrough by Tan Cheng Quan. Please note animation takes few minutes to load.

Click Here to see PDF File on ISEA Artist Prsentation/ Paper Submission

Media: digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate/ AVS technologies; installation composition’s size is variable and depends on the available exhibition space; size of each panel height 227cm x width 100 cm, 3 panels is minimum requirement for composition but it can vary up to 11 panels. HD Animation requires projector and DVD player. The Installation can be displayed as either immersive 3D installation, minimum size 10 sq meter, max size 40 sq meters, or 2D installation, a back lit wall composition size width 200 cm X height 227cm.

Photography by Quek Jia Liang

There are two main visual parts to installation: one, -the re-constructed museum interior using tall backlit compositions depicting hallucinogenic dream space, the other,- the projected experimental animation at the back of the exhibition space mirroring the map of that dream universe.

 

ON ART WORKS

Abstraction and sacred geometry

 Several ideas are common to most myths world views: the universe is a single, living substance; mind and matter also are one; all things evolve in dialectical oppositions, thus the universe comprises paired opposites (male- female, light-dark, vertical-horizontal, positive - negative); everything corresponds to a universal  analogy, with things above as they are bellow; imagination is real; and self -realization can come by illumination, accident or an educed state: the epiphany is suggested by heat, fire, or light. (Senior, 1968, pp. 39-41)

The ideas that underlie mystical beliefs were augmented by illustrations that, because of the ineffable nature of ideas discussed, were abstract or emphasized the use of symbols.  Sacred geometry is inextricably linked with various myths and mystical doctrine ..…Thus sacred geometry treats not only of the proportions of the geometrical figures obtained in classical manner, but of the harmonic relations of the parts of human being with one another; the structure of plants and animal; the forms of crystals and natural objects, all of which are manifestations of the universal continuum...Since the earliest times, geometry has been inseparable from magic. Even the most archaic rock-scribings are geometrical in form. These hint at a notational and invocational system practiced by some ancient priesthood. Because the complexities and abstract truth expressed by geometrical form could only be explained as reflections of the inner most truths of the world’s being, they were held to be sacred mysteries of the highest order and were shielded from the eyes of the profane. Specialist knowledge was required to draw such figures, and their mystic importance was unheeded by the untutored masses. Complex concepts could be transmitted from one to another by means of individual geometrical symbols or combination of them without the ignorant realizing that any communication had taken place. (Pennick, 1980)

The fusion of symbol and meaning in Hinduism esoteric ideas is expressed through use of basic but sacred geometric figures in architecture influenced the art work planning for exhibit in Post-Museum. Sri Veeramakaliamman Hindu Temple have integrated conceptualizing expressions of natural systems and behaviors in its sacred architecture and organic abstract geometry of its interior patterns. The process of weaving a pattern is also very similar to creating of image through computer algorithms, where all the pattern color values of pixels are calculated line-by-line. While the weaving is made by hand, a magic thread weaves the digital image using computer language.

Sri Veeramakaliamman Hindu Temple Little India in Singapore's
sacred geometry and Digital Paint Brush variations,- example of
Invisible relational dynamics between things that could only be realized in abstract form

Metaphorically, ‘Internal/ External ‘is about two parallel worlds. It is an effort to physically materialize invisible, ‘Internal ‘, into its dialectical visible abstract opposition. Thus ‘formless’ is to transform spaces into universe comprised of paired opposites. The ‘multi-layered atmosphere’ of monumental backlit compositions is creating emotive and tangible interface between interior and exterior space. Collage-like spatial image arrangement strongly appeals to the viewer senses with density achieved by overlaying architectural and media design. This brings about a positive over-stimulation of the mind: perceptual processes of similar complexity as they occur, for example in nature. The aim is to expand the absolute understanding of space with a view to transforming it onto dynamic and process-like setting, playfully undermining how we perceive reality, exploring relation between real and constructed space, and thus generating new ways of spatial perception. (Steward, 2008)
The analogy to invisible aspects of the material universe dates back to German Romanticism of the 18th century, and aesthetic research of beauty and the sublime in nature. The eighteen century was an age of travelers anxious to get to know new landscapes and new customs, not out of desire for conquest, as in previous centuries, but in order to savor new pleasures and new emotions. This led to the development of a taste for things that are exotic, interesting curious different and astounding. (Eco, 2004)


‘The Center of Creation’ and ‘Blue Conjuctio’, followed by ‘Primal Atom: Ten Energy Whirls’ and ‘Elixir of Gold’
By traveling through narrow passageways, one arrives to ‘Gold Conjuctio’ and into an animated projection at the other end of the Museum exhibition space.

 

ON DIGITAL PROTOTYPING AND PRINTING/ Post- Museum Proposal
November, December 2008


Digital prototyping of the museum was done initially and interior 3d model of Post- Museum was build to visualize and plan art installation virtually.The exhibition consists of 3 sets of artwork in 9 panels @ 2.4m x 1.2m. Many variations were made during the pre-visualization stage before arriving at the final layoutwhich was referenced for the actual exhibit in Feb 2009.

Animated Flythrough by Tan Cheng Quan

Digital Previsualizations and Modeling Tan Cheng Quan

To review more on the modeling details please click here

 

Internal External details of the 3D installation view

Digital Previsualizations and Modeling Tan Cheng Quan , ADM

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DETAILS OF ART WORKS INSTALLED

Media: digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate; installation composition’s size is variable and depends on the available exhibition space; size of each panel height 227cm x width 100 cm, weight 7kg/ 2 panels is minimum requirement for composition but it can vary up to 11 panels. HD Animation requires projector and DVD player. The Installation can be displayed as either immersive 3D installation, minimum size 10 sq meter, max size 40 sq meters, or 2D installation, a back lit wall composition size width 200 cm X height 227cm. AVS technologies