Type: Permanent exhibition
Role(s): Technical lead lighting, projection (planning, integration, content), and sound (concept & framework)
Subject: Protective amulets from across world cultures and historical periods
Setting: Four intersecting room-within-room fabric structures arranged as a path; richly colored interiors, dark grey exterior
Lighting: Static Casambi-driven Erco Eclipse fixtures, 3000K white + RGBW Projection: 4 projectors; particle animation and exhibition text built in TouchDesigner
Sound: Multichannel immersive audio over Dante
Show server: NUC mini PC + TouchPlayer, networked for remote maintenance
Mette Bortitz - curator
Signe Beckmann Baird - exhbition architect
Sarah Sejer Solow - sound designer
Overview
The museum's first festival piece designed and built in-house, Yggdrasil grew from the museum's purpose: weaving stories from the past into an understanding of the present. The Norse world tree gave it form, a glowing canopy wrapping the facade. Weaving runs through the piece on every level: the Norns spinning fate from thread, the fibers echoing both those threads and modern internet cabling, and an old craft building the structure itself.
Lighting
The lighting accentuates each room's color and theme, and pushes beams out through the fabric openings — colored light reaching into the dark to draw attention and guide the way between rooms.
Visuals
Outside the rooms, a looping animation of glowing dust periodically resolves into half-tone clips of the forces the amulets guard against — war, nature, hardship, supernatural powers — then dissolves back. The grain suits the mystical theme and ages well in a permanent install; the introductory texts are set in the same particle animation for unified visaul treatment.
Sound
I set the concept and technical framework and directed the sound designer on the content. The fabric muffles but doesn't seal the rooms, so the two worlds bleed: an ethereal soundscape within, a low drone with faint whispers without, timed to the animation so the unease builds.