The perception of this work is a fusion of physical – tactile, visual and iconological meanings of its elements. The entropy process starts at the very beginning when participants approach the project which is getting deeper and deeper so work never comes back to the starting point. Sand gradation differs from 0, 5 mm to up 5 mm of a grain so sense of touch is also activated along with the sense of sight. Around 25 painted boulders are spread out the park.Total dimensions: 5000x700x140 cm, painted plywood, painted boulders.
Rainbow Park has been built for rest and stimulation of imaginary of participants who all together can play with sand. 150 tons of colored and plain sand is a distinctive and also interactive element; spectators walking all over the park, preferably barefoot, mix the colors especially on the edges of sand spots, in such a way that new colors appear, e.g. on the edge of red and blue violet come into being, yellow sand mixed with red produces orange etc. In course of time spots were mixing and new composition of quality of color, emerged and smoothly turned into another color resembles the light spectrum. This is clear example of entropic process. Colorful sculptural units where over 50 different colors are applied can also be used as benches to enjoy and relax within created environment. 7.8 mln participants passed through the park during 3 months period located on one of the busiest route along Thames vis a vis SOUTHBANK CENTRE.
Collaboration between me and SOUTHBANK CENTRRE went very smooth considering that project was massive and relatively complex so in a short period of time we manage to produce very successful project which attracts millions of participants during LONDON OLYMPIC 2012. Commissioned by: Cathy Mager. VIDEO: https://www.youtube.com/watch?v=Sxd4BS1epPY&list=UUCyy550q4zeqN_fVVbl9Gow&index=25
“Rainbow Park” creating a multi-sensorial experience and a relief from the stress of daily life in the big city. Using pebbles and large stones, sand banks, and luminous colors, participants encounter nature through what the artist calls a “sensory shock,” an almost “unnatural” state produced by excessive use of technology that desensitizes us from our corporeality. The priority given to the sensory of sight has been linked to the ideologies of human superiority since the ancient Greeks, but in Kalinowski’s work, the physicality of touching, hearing, smelling, seeing are all equal partners in the awareness of the journey.
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Art matters. Attention to the details of our environment leads to love of place, which brings us to take responsibility for the spaces where we live and work. And by extension, the people with whom we live and work. And by extension, to our local communities, our cities, our nations, and our world.
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