Solveig is an ecosystem.
Everyone who enters impacts its ecology.
In Antarctica, penguins cluster for warmth, performing intricate choreography allowing them to share resources and survive in an extreme climate. The penguins’ social design patterns create a score for Solveig.
Three musicians play live. Every sound they make is collected in a system of infinite sustain, dispersed around the room via invisible sound design. It’s clear that tiny acts have long-term, cumulative repercussions.
Slowly shifting colour pulsations are fed by this live sound, and projection mapped onto a canopy of holographic gauze. Haunting colour spectrums glide across the canopy, almost coalescing into occasional images, before dispersing once more into light.
Both sound and vision are data driven by scientific information collected from a twelve-month cycle on Antarctica.
Visitors to Solveig ebb and flow through the room, entering and leaving at any point during a durational live performance. They too become participants, influencing these converging energy systems.
This collaboration between scientific and artistic communities aims to generate empathy with our ecosystem.
Solveig creates an experience which develops a sensory understanding of human impact over time, drawing audiences into a personal connection to Antarctica. It highlights the interconnectedness of all things, and our current complicity in this fragile continent’s endangerment.
Solveig expands and contracts in different contexts, like the continent that inspires it. It can be experienced in live, installation and digital forms.
Solveig is produced by Martel Ollerenshaw and John Cumming, under the banner of Arts & Parts Ltd (UK).
It’s created by
Genevieve Lacey (Australia)
Amos Gebhardt (Australia)
Paul Grabowsky (Australia)
Daniel Herskedal (Norway)
Max de Wardener (UK)
Jim Atkins (Australia)
in collaboration with Steven Chown, Professor of Biological Sciences and President of the Scientific Committee on Antarctic Research (Australia).