Following Craig Thomas’ group tutorial, I was guided to look into sonic arts. It was pointed out to look at Haroon Mirza work, including his exhibition back in 2012 at Spike Island, Bristol.
Haroon Mirza has established a distinct body of work that fuses sound and image into a complex sensory experience. At Spike Island he presented a group of individual works, each an assemblage of separate components that synthesise light, sound and movement. These were orchestrated to form an aesthetic whole, building and looping across the gallery space to create an immersive experience that refuted the galleries’ privileging of the visual.
In addition, some other artists which work with notions of perspective and how we see things around us has been discussed. Tatzu Nishi, has created unconventional, site-specific public art projects around the world, transforming historical monuments by placing them in domestic settings. His works remove traditional statues from their everyday contexts to create surprising, intimate encounters with familiar monuments, making them accessible to the public in new ways.
Mary Miss has reshaped the boundaries between sculpture, architecture, landscape design, and installation art by articulating a vision of the public sphere where it is possible for an artist to address the issues of our time. She has developed a framework for making issues of sustainability tangible through collaboration and the arts. Trained as a sculptor, her work creates situations emphasizing a site’s history, its ecology, or aspects of the environment that have gone unnoticed. Similar themes to Tatzu Nishi as how framing can bring different contexts to a specific elements within public spheres.Finally, Richard Serra often constructs site-specific installations, frequently on a scale that dwarfs the observer. His site-specific works challenge viewers’ perception of their bodies in relation to interior spaces and landscapes, and his work often encourages movement in and around his sculptures.
“Time and movement became really crucial to how I deal with what I deal with, not only sight and boundary but how one walks through a piece and what one feels and registers in terms of one’s own body in relation to another body.”