Act/React

Interactivity is the most recent form of art. At the Act/React exhibit in Milwaukee there are many examples of this digital art in this digital age. Prominent artists’ know that the audience is a key element in the art experience. Art cannot be without someone to appreciate it, and sometimes the artist’s audience comes long after their death. The artist creates an emotional investment in their piece in which the audience can relate the art to their own life.

Scott Snibbe Deep Walls piece engages the audience in a performance. The artwork itself consists of a projection of grids on the wall, with different silhouette in each. At first glance the viewer may not recognize these anonymous shadows, but shortly after studying the piece they may come to realization that they are staring at different angles of their own shadow. This perplexing way of bringing the audience into the piece is most effective. Not only is the piece a mirror of the audience member’s shadow, but also their own artistic ability.

The second artwork I came across was boundaries. In this piece nothing is visible until two individuals cross the threshold of the art work. As soon as they do a green boundary line always separates them. Multiple individuals can interact with this piece; sometimes causing stranger’s to interact in an attempt to beat the system. The best example of this is when two individuals come into physical contact; this breaks any border lines in between the two.

The next room in the exhibit was Liz Phillips Echo Location room. This room is said to be modeled after mystical gardens that change the individuals while visiting. I immediately recalled Shakespeare’s “A Midsummer’s Nights Dream” in which a forest represents, complete chaos. This room utilizes the same technique bats use to locate food to make art. Several sonic projectors issue clicking bursts of sonic waves, which are then interpreted by the computer as the sound waves bounce off objects. In this case as you move about the room the artwork makes ambient sounds, and lights up neon lights within the room.

Brian Knep’s Healing Pool was intriguing. This artwork spanned the floor much like boundaries; however it consisted of large psychedelic biological blobs that resembled oversize bacteria. When walked over these entities are erased but reform in time. The difference is that they never “heal” in precisely the same way. In this sense it can be said that the viewer leaves their mark on the artwork. Much like the natural environments of today, humans have vast and everlasting effects on everything they come into contact with. Though the earth is very resilient and has the ability to heal, it will always be shifting and changing.

Daniel Rozin’s pieces in the exhibit were of significant interest. Each presented the audience with mirror reflections of themselves, in a way not previously done. One piece used wooden pegs to accomplish this. The pegs themselves became the mirror, changing and shifting like giant pixels to give the viewer a lens to see themselves through. His Snow Mirror was similar in principle, but had a unique effect of is own. This piece was more like a static television; a projected reflection on the wall would depict still moving audience members. These individuals would only become visible as the snow accumulated on them.