About the Project
Infinite Mass
Immersive Arts Installation, 2008
Exhibited at Millennium Court Arts Centre, Portadown, Northern Ireland
Project Overview
“Infinite Mass” explores the intersection of the physical and metaphysical realms through a dynamic, immersive sound and sculptural installation. The work challenges our understanding of space and existence, inviting audiences to reflect on their place within the world. The project sets up a dialogue between mass and movement, contrasting the tangible, grounded forms of suspended spheres with the ethereal, shifting nature of sound. It addresses how we inhabit both physical and spiritual dimensions—two worlds that coexist but are experienced differently.
Concept & Execution
The installation features a multi-channel sound system with seven suspended spherical forms, each approximately 750mm in diameter. These spheres are fabricated from polystyrene, spray-painted to resemble stone, symbolizing eternity and the cyclical nature of existence. The spheres, acting as individual sound sources, emit sounds that travel between the forms, utilizing the Doppler effect and panning techniques to create an ever-changing auditory landscape. The installation space becomes filled with the physical mass of the spheres and the intangible, ephemeral movement of sound.
One sound source is a computer-generated tone, spanning the low to high end of the frequency spectrum. Four additional sound sources consist of white noise, further emphasizing the theme of eternity. Participants are invited to walk around the suspended spheres, engaging with the sounds and experiencing their movement within the space.
Innovative Engagement
“Infinite Mass” was one of the early examples in Northern Ireland of an immersive installation that directly engaged the audience through both their visual and auditory senses. The work was visionary in its consideration of how participants could interact with the art, transforming the exhibition space into a fluid environment where sound and form responded to human presence. The installation encouraged a direct and immersive connection between the viewer and the work, expanding the possibilities for engagement within the realm of immersive art.
Technical Details
7 suspended spherical forms (approx. 750mm in diameter)
Polystyrene material with spray-painted stone-like texture
Multi-channel sound installation utilizing Doppler effect and panning
Speakers concealed inside each sphere, connected via audio cables
Sound sources: computer-generated tones and white noise
I worked with Gwen Stevenson on her amazing exhibition "Infinite Mass". The work was an installation-based sound and sculpture work. Exhibited in 2008, Stevenson created a multi-channel sound installation of seven suspended spherical forms with each form acted as an individual sound source. The entire exhibition space was filled with sounds and the forms moved with human movement. An example of early work and the ideas of audience engagement, this work was visionary in Ireland because the installation was one of the first to consider how the viewer would directly interact with the artwork and the space that surrounds via both their visual and audio senses. I will also add that as a curator, I found Stevenson to be a dream to work with--hard working, receptive and her integrity and commement to working with audiences and others is inspiring. Dr Megan Arney Johnston, Independent curator, museum specialist, and author of "Slow Curating: A Handbook for Socially Engaged Curating", to be published by Routledge UK Museum & Heritage in 2026.
PROJECT FUNDERS & PARTNERS
