This artistic research started with the challenges of the contemporary scenography; How to react and participate in the fluctuating performances of today? The immaterial starting point has turned into a rhythmic spatiality, where the rhythm meets visual compositions, movements, sound and other intangible elements of the performative space. After joining to the TAhTO program, my study started to move even more towards interartistic aspects where the performing art meets installation art and the participatory performance meets music and sound art. Among the important aspects today, has proved to be the process of sharing and making the spatial experience and design process more comprehensive and visible through communicative practice.
In this writing, I open up the process of a previous site-specific live installation which I was involved in: Between two skies (2012). This piece is the first part of my doctoral thesis in artistic research, dealing with the spatial experience and the transformation of the scenographer’s working methods. The concept of the event was mainly formed collectively by the discussions and experiments of the working group. In this text, I observe the spatial experience from three points of view: via my own experience, from the perception of the visitors and connecting it to a wider perspective, namely reflecting the nature of the live installation to the art critic Claire Bishop’s thoughts and examples in the book Installation Art, A Critical History (2005) and Anna Moszynska's book Sculpture Now (2013). In the end, I am summing up the kind of impact this process and these three different views have had on my research and how the thoughts and questions have evolved during the preparations.