Invisible Dust explores our responses to air pollution, health and climate change through joint art and science ventures in the UK and worldwide
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Who We Are
Invisible Dust is developing exciting new art and science ventures with the aim of making many of the invisible effects of our actions visible in fantastical and imaginative ways. Find out more here
Kaffe Matthews has been making and performing new music via all kinds of digital gadgetry internationally for fifteen years. She is now most known for her live sampling performances of events and places in real time and the collective project “music for bodies” which makes sonic furniture and music to feel rather than just listen to.
Kaffe Matthews, 'in clean air we fly', 2009. Photo: Christoph Ferstad
Recent works include The Marvelo Project,(2008), a Folkestone Triennial commission, which enabled visitors to cycle their own path through the work from specially made GPS linked stereo bicycles, and Fathers (2009), an audiovisual opera with the Lappetites, just premiered HKW, Berlin.
“The work of Ian Rawlinson and Nick Crowe is a poetic exploration of cultural values. Their work addresses questions around faith, politics, national identity and the environment. Often built around pairings and oppositions their video and sculptural works create an encounter with the viewer that focuses on the complexity of objects and actions in relation to their social contexts. Works like The Fireworks, The Carriers’ Prayer or The Four Horsemen operate though an unravelling of the social and ideological consequences of an action in regard to its apparent spectacle. This interest in consequence is reflected in the aesthetics of spectacle and excess that sit at the heart of their practice. In this sense the visual and aural intensity of much of their work can be seen as the discursive opening in its conversation with the viewer.”
The Burble is a massive structure reaching up towards the sky, composed of approximately 1000 extra-large helium balloons each of which contains microcontrollers and LEDs that create spectacular patterns of light across the surface of the structure. The public, both audience and performer, come together to control this immense rippling, glowing, bustling ‘Burble’ that sways in the evening sky, in response to movements of the long articulated interactive handle bar at the base of the structure. The ephemeral experience exists at such a large scale that it is able to compete visually in an urban context with the buildings that surround it.
