THE PHYSICAL POSSIBILITY OF INSPIRING IMAGINATION IN THE MIND OF SOMEBODY LIVING
The Physical Possibility Of Inspiring Imagination In The Mind Of Somebody Living
TPPOIIITMOSL is a site specific installation, first realised in Toxteth, during the Liverpool Biennial and then in Little Haiti during Art Basel.
Under cover of darkness, Walter & Zoniel took over a derelict building and filled it with tanks of live jellyfish, creating the illusion from outside that the whole building was full of the alien -like creatures.
During daytime hours the windows were covered in metal shutters, which only opened as dusk fell, to reveal the surrealist installation. Playing with the notions of social wealth versus monetary wealth and the relationship that outlying communities can have with the decedence of the ‘Art World’ upon their city, the artists placed each installation a month before a major art event was to open in each city, giving the installation entirely to the local community to respond to before it being ‘framed’ as public artwork.
The installation was opened in both cases in absolute secrecy, with no press or pr being released about the work. The first public experience of the installation was as dusk fell, when the shutters automatically lifted to reveal the living surrealism within.
Open each evening from dusk until the middle of the night, the installation rapidly proved the artists’ views on social wealth by receiving a thousands of visitors who had heard of the work via word of mouth and then rapidly on social media. Residents felt complete ownership of the piece, accepting it into their community and revelling in its surrealism, creating stories of their own about it.
The installation works on many levels and progresses through several stages which change the nature of its existence and the relationship with the viewer, as it goes on. The primary relationship it has with the viewer is as a source of wonder and inspiration, its surroundings highlighting the juxtaposition between life and (post developmental) desolation and presenting the possibility of the surreal, absurd and wonderful. As night falls, the installation will be exposed to illuminate the night, mesmerise passers by and inspire others to visit – testament to the powerfully innate ability in all human beings to imagine.
The secondary stage draws upon the natural flow of information and the power of movement through inspiration. In a deeply digital age we are creating something that is (on the surface) entirely analogue in terms of its promotion. We will actively refrain from promoting the work in the local area, instead allowing it to flow out naturally by ‘word of mouth’ , which will allow us to view (and record through the photography) the powerful ability that inspiration and imagination have in the flow of information. The surrealism and wonder of the work should inspire this natural promotion and bring more people to the area to view the work. Initially the work starts out as a fish out of water, existing as art on the street, free from the contstraints of expectation that one takes into a gallery space and highlighting that to those viewing the work. Gradually as more people come to view the work then it operates to transform the space itself into a gallery space of sorts, bringing with it those who specifically seek out art and visit galleries to do so.