CREATIVE PORTFOLIO
Pareidolia
An immersive, walk through art installation curated by Natasha Quinn and Erica Mendonca which explores the visual phenomena of pareidolia; the tendency of the mind to seek meaningful imagery in neutral stimuli.
Sound recorded and mixed by Diana Bahirian.
01. Fantasy
Inspired by natural elements and films such as Pan's Labyrinth, the fantasy space encourages an exploration of pareidolia with the same fascination and curiosity of the world we experience in childhood; to see the world without inhabitation or limitation.
The space used real floral components, arranged and suspended from the ceiling. It contained flowers, moss, fungi and featured a short live action sequence filmed by cinematographer, Emily Pot.
02. Horror
The horror space emphasizes the history of pareidolia in psychoanalytical research, notably the Rorschach inkblot experiments which aimed to categorize the thought patterns of patients experiencing psychosis. Through delicate use of charcoal animation, filmmaker and artist Madeline Aimee brings to life "Herman's Eyes" named after inkblot test creator and psychologist Hermann Rorschach.
The space featured Madeline's animation, as well as a variety of hand painted ink blots by artist Diyara Ossi, which participants were encouraged to interpret.
03. Sci-Fi
The sci-fi space pays homage to the original inspiration of the installation; an imaginary alien figure etched into the wood grain of a door. Animator Anne Hoang anthropomorphized the wood texture to create an extraterrestrial being in her short, "Grover's Mill."
The sci-fi space featured a projection of Anne's animation, as well as a large suspended paper mache moon with imagery painted into the craters. Anne's animation and the sci-fi space drew inspiration from the film, 2001: A Space Odyssey.
04. Dystopian
As the final space of the installation; the dystopian room was used in juxtaposition with the first room, intentionally contrasting the natural world with the industrial and life with death.
Created in collaboration with filmmaker and artist Vince De Vera, the dystopian room featured a corridor coated in silvery aluminum and encouraged viewers to see more than just texture. Wirey metal sculptures reminiscent of the human form were suspended from the ceiling throughout the space.
