Haze State is a project that proposes an alternative way of re-imagining historical and anthropological contexts in urban settings. A public interactive installation that stages atmospheric representations evoking sensations, recollecting the past and restoring subliminal artifacts: in its own becoming a responsive environment. Inserting a strategy in contemporary architecture called â€œcross-atmospheringâ€ where a coalition of incompatible functions causing a contradictory connection between actions and spaces, the project seeks to turn art audiences into active contributors of the newly mapped experience. Each installation involves digital and scientific interfaces within sustainable environments that mimics natural phenomena.
I have always been inspired by work of artists such as Olafur Eliasson, La Monte Young, Hans Haacke, Tomas Saraceno that evokes senses through experiential-based installations. Whether the installation in the "form" of a room with light or a systematic piece that transform organic materials into a living system that sustain itself. Along with the question of de-materialization in an artwork, I have been researching about sensory system particularly smell/olfactory and how both materials/ideas could blend together.
"I believe that devoting attention to time has farreaching consequences for
the idea of objecthood and the dematerialization of the object. Artworks are not closed or
static, and they do not embody some kind of truth that may be revealed to the spectator.
Rather, artworks have an affinity with timeâ€”they are embedded in time, they are of time. This
is why I sometimes call my works experimental setups; they are structures with which visitors
can engage. The value we ascribe to these unstable and unpredictable structures is much more
relative than what we encounter in the experience industry as we know it today. [...] I like to think
that my work can return criticality to the viewer as a tool for negotiating and reevaluating the
environmentâ€”and that this can pave the way for a more causal relationship with our
surroundings. Whereas earlier decades looked to phenomenology as a sort of formula that
constitutes our surroundings, I think the 1990s showed that it can instead be a tool for
negotiating these surroundings. It offers an inquisitive, explorative approach to the world that
allows for multiple perspectives on artworks, subjectivity, and experience."-Olafur Eliasson