I started this research by asking myself the question how can we create synesthetic experiences that instantly appeal to intuition and heighten the other senses, changing the hierarchy of sight as the dominant sense? By conducting a multitude of experiments I discovered that the sight is not fully necessary to create an artistic experience. Following this, I began questioning myself how to create synesthetic artistic experiences by gradually involving the spectator in an experience in which the vision gradually loses importance. This can be accomplished by forcing the sight into the background by promoting the primary use of other senses. It could be possible to invoke these experiences in the spectator by using facilities where it was especially the sense of touch and hearing that take over the experience instead of sight.

I think I discovered, but that I am still also in process, of finding a trigger that allows me to make the viewer engage and commit to the art piece with his participation. In order to achieve these synesthetic sensations in the spectator, it is necessary for me to put myself in the same position. Doing this, it is important to instill a motivation of wanting to discover more and see beyond an art piece. By also imagining the perspective of the spectator myself, I can make these experiences work. By creating an analogy using botanical gardens, and designing a route of the senses, I materialized these synesthetic experiences. They help me as a maker to feel more engaged, to position my experiments and ideas more clearly and help me to feel encouraged to involve the spectator to participate.

During this research process I realized that mapping my process helped me to position myself as a maker and the spectators within the sensation I want to generate in them. It is important to engage them gradually with the space and the object. I have learned that we constantly combine all of our senses but we are not fully aware of it. Following, it is not a precondition to be a synesthete to have a multi-sensory experience. An example of this is that we already can see tactile qualities. A visual representation always involves more than just the sight.

By working on this project for two years I have become more conscious and aware of the analysis of the space and the behavior of the spectator within it. By analyzing this, I am more aware of the engagement that the spectator has with the space and the objects that are placed in it. These factors have enriched my work as an artist. Following this, I will be even more conscious of the performative space when creating an installation. I now realize to a higher degree that I am passionate about involving the spectator with the spaces I create.

Learning about scenography I have been given the tools and possibilities to create interactions in places I did not previously think could be considered artistic. I now think as installation art as creating full involvement. For example, a passive spectator that just observes the space does not encompass the full range of interactive options we have as makers. I am fond of the idea that in my own work the spectator is actively participative in the space. That finally, for an art space to work, they are the last important piece that must be included.

I have also learned that scenography can be created everywhere. By being aware of our surroundings and the elements that they are composed of, we can generate an interaction and a narrative. I was thrilled to discover this different way of creating a performance. I want this research to continue to be a part of my artistic process. Herein I will continue to explore the topic further. I will go on experimenting with sensorial environments, synesthesia and continue relating them with botanical gardens and its spatial behaviors.