Bryna McCann, artist and sculptor
Bryna McCann is a sculptor living and working in Hudson Valley, NY. In the following article, Bryna McCann discusses that within today’s contemporary art scene, a new wave of creativity is sweeping through galleries and exhibition spaces, captivating audiences with immersive installations and interactive experiences.
Art has long been considered a passive experience. People view it, but they don’t participate in it – at least not without a word from security. However, the art world is changing. Now, immersive installations and interactive experiences are redefining what it means to appreciate everything from classic paintings to modern mediums.
Technology and the desire for new kinds of artistic expression and reception are redefining both the creation and consumption of art. Some installations encourage tactile interactions, even inviting viewers to become part of the piece in a multisensory, immersive experience.
Below, Bryna McCann provides a few examples of these new artistic feats, exploring the technology behind turning art into something more active.
Bryna McCann on Redefining Art with Immersive Installations
Immersive installations take art out of the frame or off the plinth. Take, for example, the global phenomenon “Beyond van Gogh.” Advanced projection techniques put guests in the center of fields of sunflowers or beneath a starry night with moving images on walls, floors, and ceilings while an audio narrative provides insight into the mind of the iconic Dutch post-impressionist painter.
Bryna McCann explains that Van Gogh’s art is no longer confined to the canvas for passive viewing. Instead, it comes to life so that art lovers can fully immerse themselves in the artist’s world for a multisensory and emotional experience.
Don’t Just Look, Touch
The Tokyo-based digital art museum Borderless, developed by the art collective teamLab, is another prime example of a shift away from the mere observation of art. This decidedly non-traditional museum provides a digital landscape for visitors to traverse as their unique movements make digital flowers bloom or activate waterfalls along their path.
Bryna McCann explains that in Borderless, no two experiences of the art are the same. This “living art” hub dissolves the boundaries between the observer and the observed using a series of projectors, sensors, and other digital technology to make the art respond to guests in real time. This is one place where visitors are encouraged to touch, let loose with their movements, and change the art.
The Societal and Cultural Influence of Immersive and Interactive Art
Immersive and interactive art practices have far-reaching implications for the role that art plays in society. Playful art that encourages action rather than silent admiration opens up studios and museums to those who feel that traditional art is inaccessible. It encourages a wider audience by leaving behind the intimidating rules of tradition.
Bryna McCann notes that the rise of immersive installations and interactive contemporary art represents a shift in the way art is presented and consumed, such that it’s no longer seen as an elite activity, off-limits to those without a formal background.
None of this is to say that immersive art is a free-for-all, though. There are still formal methods of interpretation and conscious consumption that allow art lovers and experts to appreciate the talent of artists who work with digital tools in addition to drawings.
The Rise of the Artist-Technologist
Bryna McCann says that immersive art installations also change the role of the artist and their expected skill sets. Painters, sculptors, photographers, and illustrators will always have a revered place in the art world, but increasingly, so will programmers, coders, and multimedia specialists.
Take artists like Refik Anadol, for example. His work transforms the world’s invisible patterns into visual matter using machine learning algorithms. The resulting immersive installations require both programming skills and a unique sense of aesthetics to produce visualizations that are typically projected onto walls or buildings, which he simply refers to as “sculptures.”
Anadol’s piece “Machine Hallucination” also takes art from the gallery out into the world so it can be appreciated by anyone. This piece used AI to transform Chelsea Market in New York City into an immersive data painting made up of 10 million images of the city that were taken by other people. As a result, the piece was communally produced and experienced.
Summary
Bryna McCann reports that the rise of immersive and interactive art is ushering in an exciting era of democratization and innovation that blurs the boundaries between artist and viewer. By making art a participatory and even communal experience, viewers get easier access to art and – one hopes – a better chance to develop an appreciation for its importance in our world.
