This interactive room-sized installation seeks to immerse its audience in a loose choreography which inherits it’s movements from an autobiographical and diasporic cultural moment captured in a still photograph. This instant was recorded a few months after my mother and I had landed in Chicago from Miami where we were vacationing.
My mother was a Haitian journalist reporting the corruption under dictator, Jean Claude Duvalier. We feared for our lives. So, we ended up staying with her college friend in West Rogers’ Park. It was outside of his apartment that we were waiting for the bus when my mother pulled out a disposable camera and unknowingly initiated this piece.
I do not remember my first snow but found it fascinating that staring at this photographic medium could induce the same emotional/physical reaction that the physiology responsible for my memory released long ago.
The stop sign that was present in the photograph is going to become the main point of interaction for my installation. I purchased a stop sign that was junked for metal in Nebraska. I secured it to a wide, flat metal base, that can be fastened to the floor or a nearby wall. Strapped it with an infrared beam to it and pointed towards a camera overlooking the room.
The camera mapped the movements of the sign, when it was touched, to the generated snow particles. It also triggered the sound to play.