THE MEADOW explores and manifests the metaphorical space which lies between the 'simulated' and the 'real' - a space to which artists are inevitably drawn. Ambiguity and irony also share this space, and it is here that new mythologies and realities may be imagined. This space is particularly appropriate to artists working with new electronic technologies to bridge the gap between science and fiction.
Stepping into the installation space, the viewer is surrounded by four large colour monitors. Displayed on each monitor is real-time, full motion video of a different view: the four edges or corners of a meadow as seen from a central vantage point. It is winter in the meadow, then suddenly the season shifts. The views remain the same, but a certain motion or sequence of movements has triggered a transformation. Suddenly it is spring. The viewer discovers, as they move within the installation space, how to trigger these seasonal changes and find it is possible to move backwards in time, from winter to fall, or across seasons, from fall to spring, as well.
Other effects, the sound of a flock of geese which suddenly materializes, flies overhead and disappears, the persistent and annoying buzz of a mosquito, children who are suddenly heard laughing or playing just out of sight, may also be triggered. A child whispers on your left and is answered by another child whispering, on your right.
A momentary 'freezing' or speeding up of the video imagery, a sudden change of perspective or shifting of location, may seem to be random. As in real life, the relationship between cause and effect is sometimes blurred.
Ultrasonic transducers, a centralized microprocessor unit and custom-designed micro-controller for four laserdisc players engage the viewer in an interactive environment simulation of a small, intimate meadow. The microprocessor and controller perform two functions: the detection of viewer location/movement and multiple laserdisc control.
(source: www.vacuumwoman.com)