Atmospheric Front

A hybrid organism of code and cloth, both natural and synthetic materials combine in Atmospheric Front to engage and transform the interior experience of Flashpoint Gallery. Hand-knit skins respond to multi-sensor inputs – activating movement through a network of connective threads that sweep along walls into a sensing armature of pulleys, motors and microcontrollers.

Atmospheric Front is an immersive spatial experience composed of fiber, motors, twine and wood. Adaptive textiles respond to and grow within given environmental constraints, a balanced choreography made up of code and chance. Context is highly localized and site-specific. Sensors respond to the presence of the gallery occupant, initiating a cascade of motion throughout the installation.

Suspended canopies reference technology, the work of the hand and textile craft. Imperfections in each method reveal processes that are essentially human. The installation is characterized by a cyclical transformation of code-to-cloth-to-shadow. Digital language defines action in a physical assembly back to a process of dematerialization as shadow and light. By proposing parallel idioms of making within the realms of technology and craft, Atmospheric Front is temporal, imperfect and adaptive.

– Hana Kim + Shana Kim, 2012

With special thanks to HacDC (www.hacdc.org) for their collaboration on this project.

About the Artists

Hana Kim
Hana Kim is an interdisciplinary designer and artist based in Washington, DC. She has shown her work regionally and abroad, most recently with Chroma Projects in Charlottesville, VA. Prior to residing in the greater Washington, DC area, she taught undergraduate architecture and studio art courses internationally as a lecturer with the University of Virginia. Kim received her M.Arch from the University of Virginia School of Architecture.

Shana Kim
Shana Kim is a multimedia artist based in Virginia. She holds a BFA in Kinetic Imaging from Virginia Commonwealth University’s School of Communication Arts and Design. Having experimented extensively with video and animation, Kim turned her focus to the intangible qualities of digital media in 2006, beginning work in immersive installation art. In the past, her work has been screened at the Virginia Museum of Fine Arts. She has contributed to award-winning productions in the television industry as a coordinating producer of animation and visual effects.


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