Stefano Fake has always been an experimenter of art with his free-standing vision, the multi-disciplinarity, the meeting and integration between different arts. He navigates through various disciplines without any subscription to a particular category and without having to judge loyalty to itself. An artist who has always observed the world by his installations reproducing it by his meticulous orchestration of space, lights, images, music and sound layers weaved for creating a unique art experience.

“Experience”, “show”, “immersion”, “emotion” are the keywords used to define an immersive art experience.

The spectator of the third millennium is attracted by this new form of creative communication of art, through a real MULTISENSORY IMMERSION, which adds a series of sound and tactile stimuli to the sense of sight, in order to physically immerse the spectator inside the show.

The experience (understood as perception and direct knowledge of objects external to us, acquired through the senses) implies an active receptivity on the part of the viewer, who must find his/her own interpretative path and point of view within the audiovisual flow prepared by the video artist author of the immersive work, who through his own musical and iconographic selection, suggests a point of view, without imposing it.

Unlike documentaries, where the filmmakers “impose” a clear line of interpretation of the works of art, in art experiences the author suggests visual readings of the works, through chapters, paths and visual combinations. As there is no descriptive text, be it in voice over or written, the viewer is left with the full freedom of association and interpretation of the work they are witnessing.

The immersive experience is in itself a work of art, and therefore susceptible to multiple readings and interpretations. While it is often required by viewers, stuck in old cognitive patterns, to want to be “guided” in the interpretation of art, it is instead the precise desire of the creators of immersive experiences to leave the viewers’ points of view open: be they physical (the freedom to place oneself in the scenic space, thus choosing one’s own point of view within the multi-projections) or cognitive (they do not try to explain the works in an educational or didactic/informative way).

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