THE FLOWERS ROOM

THE FLOWERS ROOM

IMMERSIVE ART EXPERIENCE created by THE FAKE FACTORY

Stefano Fake is a new media artist and director born in Italy in 1971. 

Currently he lives and works in Florence and Milan. 

Within his studio – THE FAKE FACTORY – he has designed, directed 

and created some of the most significative immersive multimedia art experiences 

exhibited in prestigious museums and art galleries worldwide.

An immersive art experience is a form of art which uses multimedia languages and multisensory tools to immerse the viewer inside the artwork, with a development in space and time determined by an audio-visual storytelling. 

Its main feature is the experimental use of cutting-edge technology as an artistic tool with the purpose of creating transformative spatial experience.

The tools in the hands of the digital artist are:

the space, the light, the visual dramaturgy, the soundtrack, the audience.

Each of these elements is fundamental and must have the same balance in the creation process.

To be an artist is not a matter of making videos or multimedia artworks at all. 

What we are really dealing with is the visitors state of consciousness

and the shape of their perceptions. (Stefano Fake)

Italy has always been the cradle of creativity, innovation and research in the artistic and cultural fields. Over the past two decades, we have seen a generation born and grown of artists, creatives and designers who have realized pioneering projects and have become a point of international reference in the field of video mapping, immersive art experiences, of light art and audio-visual performances. 

The latest generation of Italian Artist who works in digital and immersive art comes from a long tradition that we can trace back to the historical Italian avant-gardes of the twentieth century.

Your eyes
will soon open
to more radiant
visions of light.
We shall put
the spectator
in the center
of the picture.
(Futurist Technical Manifesto,1910)

With the resources of modern technology,
we will make appear in the sky:
artificial forms, rainbows of wonder, luminous writings.
(Lucio Fontana: Second Manifesto of Spatialism – 1948)

SPACE, intended as an environment, and TIME, intended as a progressive audio-visual experience, are identity components of this immersive art form. The long-lasting effects are the survival of the most intangible emotions, exchange and sharing, the creation of new processes of materialization in art. If the exhibition turns into a film or theater set, the public itself become the actors. Documentation of the participants’ actions through photos and videos shared on social media, becomes part of the creative process, expanding the boundaries of the exhibition itself. Cultural productions are subjected to a re-reading-relocation by visitors, which certify the ubiquity of optical instruments and their current prevalence on any other means of production and social sharing. Immersive art allows multiple and simultaneous views on the work. The viewer/actor is an integral part of the immersive work.

“Immersive Art is an art form that aims to immerse the viewer inside the work of art itself. The visitor is stimulated and involved through light, sound, images and animated graphics. The artist’s goal is to create a space that is a “container of emotions”, a place that generates a seamless sensorial flow. 

Andy Warhol often liked to repeat that, from his point of view, pop art was above all “loving things’ ‘. Paraphrasing his words, we could say that immersive art is above all “loving people” since in these installations there is an important and fundamental relational aspect between artist and visitor. The only fact of defining them as “experiences” (Immersive Art Experience) makes us understand the change of paradigm put in place by the artists who dedicate themselves to this discipline. The quality of the creation of the audiovisual product or the purely technological, then can also take a second place. First of all is the visitor’s experience, his being enveloped in the light, inside the rooms augmented by the sensorially thanks to the poetic use of technologies. It is not a question of surrounding the viewer with large images, but of bringing him into an audiovisual flow, shaping the form of sensory perceptions. Being an artist who works in the field of Immersive Art is not simply a matter of making videos or multimedia installations but above all the perceptions of the visitors and the relationships created within the immersive space”. 

(Stefano Fake)