During my research trip, I had the opportunity to visit Klanglicht, the renowned festival of light and sound in Graz, which celebrated its 10th anniversary this year. The festival featured an impressive lineup of international artists, including David Ram (Lotus Pods), Yasuhiro Chida (Aftereal and Fresnel), Olafur Eliasson (Eye See You), Onionlab (Echoes of Light), Alessandro Lupi (Liquid Lense), Julian Hölscher (Sphären), Liz West (Our Color Reflection), OchoReSotto (Arkestra of Light – Lifted), and the student project Vertigo from FH Joanneum IDK. While every exhibition was moving and left a lasting impression, a few specific installations were particularly instrumental in shaping my current design perspective.
One of the most impactful experiences was Echoes of Light by the Spanish collective Onionlab, created in collaboration with sound artist Shinji Wakasa. In this installation, individual reflections move through the space in a fragmented manner until, for a brief moment, they align, interact, and merge. Suddenly, the distorted images become clear and distinct. The project utilized inclined mirrors and interactive technologies, where sensors captured not only the movements of the audience but also their emotional responses, translating them in real-time into an immersive landscape of light and sound. I found this installation exhilarating; what initially appeared as a minimalist setup evolved into a complex, maximalist performance of moving light and loud, rhythmic sound.
This experience was crucial for my research into maximalist aesthetics. Seeing how complex systems, vibrant colors, and soundscapes interact in a physical space allowed me to visualize how visual overload can be harnessed strategically. As a Visual Communication major, I took this opportunity to view these installations through a lens I normally wouldn’t—exploring how environmental design can inform digital media. This visit helped me brainstorm new methods for presenting my ideas, considering both physical locations and digital environments where the combination of sound and color can create a more profound impact on the public.
I must also mention Our Color Reflection by Liz West, Vertigo by FH Joanneum, and Lotus Pods, all of which resonated with my interest in bright, maximalist vibes. The specific choices in color, movement, and dynamics provided a modern feel that stayed with me long after the festival ended. I realized that even in an era of digital visual overload, there is still a vital need for energetic and ‘happy’ design that evokes positive emotions and brings communities together.
Finally, Arkestra of Light – Lifted by OchoReSotto was a cornerstone for my research. By transforming the facade of the Trinity Church into a living, breathing entity, the collective merged light, sound, and emotion. Their use of both analog and digital animation techniques created dynamic patterns that balanced tranquility with raw energy. This hybrid approach—combining the analog with the digital—is particularly relevant to my work, as I have been exploring diverse media ranging from physical archives to AI-generated imagery. Seeing the successful ‘collaging’ of these different perspectives in a large-scale project helped me visualize the potential for my own master’s thesis, where maximalist aesthetics can be used to capture attention and educate in a world of constant visual competition.
Disclaimer: AI used
