susan derges, masssivveeeeee archwys...reflections caught and then photoshoped, optical illusion of ground and floor.....

Richard Wilson 20:50 1987 Used sump oil, steel Dimensions variable Richard Wilson’s 20:50 is truly a contemporary masterpiece. The work is the only permanent installation at the Saatchi Gallery and has been continuously shown in each of the gallery’s venues since 1991. Currently on display in Gallery 13 – a room custom built for the piece – 20:50 transforms the gallery into a site of epic illusion. Viewed from the entrance platform 20:50 appears as a holographic field: simultaneously a polished floor, infinite clear pool, an expansive and indefinable virtual space that clinically absorbs and mirrors the gallery architecture. The room is in fact entirely flooded in oil. Visitors are invited to examine the piece close-up via a walkway that extends into the lake, placing the viewer, waist deep, at the centre of a perfect mathematically symmetrical scope. Through this altered perspective 20:50’s phantasmical aura is enhanced, amplifying the disorientating and mesmerising experience of the space, and further confounding physical logic. 20:50 takes its name from the type of recycled engine oil used. It is thick, pitch black, and absolutely indelible: please take extreme care with your clothing and belongings, and no matter how tempting, please do not touch. 20:50 often has to be demonstrated to be believed: the liquid can be seen by blowing very gently on the surface.

Fences and flooring/seating with the seating of others...interactive sculture below-projection onto sculpture to interact with publics drawings..cause own illusion-modification of object

NAOMI CAMPBELL

STAinTUESQUE

Statuesque is the word for Naomi Campbell, an icon of our time who, it seems, can inflame opinion in any observer. Statuesque is also the word for Naomi - Nick Knight's 25-foot interactive sculpture that formed the centrepiece of the exhibition SHOWstudio: Fashion Revolution at London's Somerset House.


Inviting viewers to utilise Naomi's body as a conduit for global communication, exhibition goers and online viewers alike were able to 'graffiti' across her with projected light, while microphones placed in and around her body picked up visitors' audio responses and broadcast them worldwide.


This project documents both the final installation - showcasing a ten-minute extract of over three hours of footage captured over the three-month exhibition run, alongside a tour narrated by Nick Knight of the exhibit itself - and also the all-important process behind scanning Naomi in three-dimensions and recreating this Supermodel, super-sized.

• INTERACTIVE SCULPTURE
 
• NAOMI: THE EXHIBIT
 
• PROCESS
 
• 3-D RENDERS
 
• SCANNING SHOOT
 
• CREDITS