One of the most remarkable aspects of projection or light-based public art is its ability to transform the most mundane spaces into futuristic landscapes. The most interesting light-based works are the ones that can seemingly blend into their surroundings while simultaneously augmenting them. They become naturalized as an inherent part of the environment—as if it casually lent itself to an audiovisual display.
It might seem odd to say, but there is something alluring about being aware of an art project’s presence, but not necessarily engaging with it directly. It is as if the manipulations of the space itself, rather than its source, is the point of focus. Why is this naturalization so interesting? Because it normalizes the presence of the lights. They are no longer an impermanent installation that will eventually be taken down, but an inherent part of the landscape in which they are fitted.
Organic Culture by Visual System envisions a future blanketed in a thick coat of warm neon lights. Fiber optic highways entangle corridors and industrial spaces like lasers captured and stained across ceilings and grates. In the same way that the artists transformed a simple elevator into a corridor leading into space, Organic Culture continues to transform the industrial or the mundane into technofuturistic landscapes by using minimal bars of light and color.
Imagine taking in the droning yet excessive overstimulation of Gaspar Noé’s Enter the Void and applying that to every basement, factory, street and alleyway in a city. Entire spaces become ambient tanks drenched in the mellifluous hum of monochromatic light. Whether through a molten red of heated metal or an arctic crystalline sheen, the lights invade each nook and corner of the spaces they inhabit. They augment the spaces to make them unfamiliar and new. We’d like to live in a city like that.
All images courtesy of Visual System.