Khaos Part 1 is the title of a new 3D installation currently open at La Maison d’Aneli, operated and curated by Aneli Abeyant. It marks the latest collaboration by Cherry Manage and YadeYu Fhang, two artists noted for their distinctive style and for presenting art installations that tend to be layered and nuanced, and which require time to experience, rather than simply observe.
All three of the attributes mentioned above are very much in evidence with this latest work, particularly as there do not seem to be any liner notes supplied by either artist as to their intent with it, this requiring the grey matter to be cranked into action.
Reached via the teleport disk at the gallery’s main landing point, it is important that visitors take note of the basic requirements for visiting the installation. In short, these are:
- Make sure your viewer’s Advanced Lighting Model (ALM) is enabled (Preferences Graphics make sure the Advanced Lighting Model option is checked).
- Enable Used Shared Environment (World menu Environment make sure Use Shared Environment is check).
- As you walk into the installation space, make sure you accept the local Experience when asked to join (this happens as you walk towards the installation from the teleport).
To these I would add a moderate Draw Distance of around 150-200 metres is ideal for viewing the installation, and that visitors should be prepared for some fairly visually violent interactions. Finally, if you’re in a position to freecam / flycam, you most definitely should do so, as this is a 3D installation with multiple perspectives and where the local verticals are not necessarily oriented to the plane on which you walk.
Situated in a sharply-defined sky – while below, a black, star-studded sky above across which square clouds pass, the installation might be described as an artificial, geometrical landscape made up of translucent blocks. Almost transparent around the teleport point, these become more opaque towards the far horizon, where they form a tumble of large cubes and blocks suspended in such a way as to suggest a wall frozen in the act of collapse.
Before this wall are humanoid figures, some of whom appear to be falling from the wall, tucked into tight balls, others appear frozen in a motion of action – some mid-fall, some apparently trying to run away, two caught mid-fight. Many appear to be coalescing out of smaller blocks – or perhaps breaking up into them, depending on your viewpoint. Lines of light spear they way through some, adding to the impression they are breaking up; elsewhere solid lines pass through others, slanted as if to present a visual indicator of their motion.
The overall sense of the setting is one of disordered randomness – which is added to by the fact that within this basic setting, nothing is constant. Light shifts and glimmers, other figures both large and small appear and vanish, some performing actions, some caught in whirlwinds of blocks swirling around or a maelstrom of wind. As time passes, a forest of rectangular beams many appear, some seeming to rise and fall as light plays over and through them, or avalanches of white cubes will suddenly rain down the “slope”, or masses of while lines will roll and twist in place, like streamers of snow caught in a storm.
Nor is this all – as you explore the scene on foot, and having accepted the local experience, you will suddenly find yourself part of it, being shaken violently, or pulled roughly into Mouselook as your body hang bent doubled only to be slammed several time into an invisible floor before being released to fall – and then returned to the platform.
Disconcerting, chaotic, ever-changing within the main backdrop, what is to be made of all of this? For my part, I was drawn to the idea that Khaos Part 1 is perhaps a reflection on the idea of chaos theory; the concept that while dynamic systems may well have apparently random states of disorder and irregularities, they are in fact governed by underlying patterns and deterministic laws that are highly sensitive to their initial conditions. And in a mirrored reflection of this, perhaps there is also the idea that whilst life can appear to be well-ordered and subject to patterns and laws as defined by society, it is at its core the product of a chaos that is never far from the surface, simply because of the unpredictable nature of basic human emotional response and outlook.
However, I’ll leave further interpretation to you; as noted, there are no liner notes provided with the installation, and I’d prefer not to to colour reactions with my own interpretations, and will leave things here, other than to speculate that given this is “part 1”, there may will be a follow-on installation at some point.
- La Maison d’Aneli (Virtual Holland, rated Moderate)