Jason Bruges originally trained and worked as an architect before turning to interaction design. He formed jason bruges studio in 2001 to “create bespoke interactive installations”[i]. His practice can be described as highly interdisciplinary, balancing on a crossover of architecture, art, product design and interaction design. This distinctive feature of Bruges’s work affects the structure of the studio and the way in which the studio’s creations finally come to life. Architects, industrial designers, lighting and interaction specialists collaborate on common briefs. In a similar way to other contemporary creators Jason Bruges Studio defies pigeonholing and transcends platforms to create experimental work that invites the viewer to participate. These experiential installations are created for a variety of clients: from communities, borough councils and charities such as WWF and Greenpeace, to corporate clients such as the Silken Group Hotels as well as the V&A and Tate Britain and onedotzero.
Bruges makes extensive use of light and its unique quality of influencing human moods and emotions. This use of light is reminiscent of Dan Flavin (1933 – 1996), a minimalist artist who dedicated his career to the artistic possibilities of fluorescent light. Flavin used light not only as a material but also as a genuine constructive element. With light illuminating the entire space, the viewer became part of the work, creating an immersive experience. In a similar way Jason Bruges installations assert themselves by suggesting new behaviors. Described as “participatory” because of the need of the public’s participation to complete it, it is in the same way interactive in that the viewer can directly see how one influences the installation.
One of the best examples of this in Bruges’s work on an architectural scale is “Gift Wrapped” (Dexia Tower, Brussels, 2008). A light ramp placed in front of the tower building absorbed the colours of the clothes of viewers and transmitted it to the installation that was “wrapped around” the building. In a similar way to participatory theater, which requires the audience to interact with the actors to develop the narrative, Jason Bruges Studio like a stage director writes the scenario, allocates the roles, directs the actors and creates the link between viewer and artifact. This can be put in context with contemporary digital designers such as the also British based collective United Visual Artists whose practice also encompass architectural and responsive installations. Their installations use sound, light and space in order to interact with the viewer.
As this kind of installations require the use of sophisticated technical solutions, numerous managing and manufacturing aspects have to be taken into consideration at the design and production stage, which often means either inventing improvised technological solutions, or facilitating new technologies that still might not have any recognised application. This was the case with “Wind to Light” (Southbank Centre, London, 2007) where merging two popular technologies (wind-propelled power generators and LED) resulted into a new meaningful object.
Most of the studio’s installations are within the public space allowing them to be experienced by a wider public. This is reminiscent of Jenny Holzer who in the 1970’s investigated public space utilizing spaces that would normally be used for advertising for her LED installations and projection. Even though most of her work was text based her use of public space and LED has resonated on contemporary digital designers. Instead of making bold statements however, by incorporating interactivity to his public space installations, Jason Bruges initiates a dialog with the community and enhances the reception of his work, asks questions and comments on public issues.
“Light Garden” (for Greenpeace, 100% Design, London, 2007) is an example of the studio’s commitment to change peoples’ environmental awareness and encourage them to use efficient light sources. Hence, the resonance of Jason Bruges’s work exceeds from the site-specific installation and it’s temporary context, making a far-reaching attempt to influence the viewer’s attitude towards certain public issues such as energy production, consumption and sustainability.
This use of technology to create meaning and engage with the viewer we believe is a very current issue in art and design where the “is it art or design” argument is potentially of no importance anymore. The driving force is “the desire for technology that is more meaningful, that is transparent and human, or playful”[ii]. In the case of Jason Bruges this can be seen in the “artistic intervention in public spaces, affecting the everyday experience of the city”[iii].
[i] Taken from http://www.jasonbruges.com/studio
[ii] Extract from Profile article on Troika, Grafik magazine, April 2009 issue, p.49
[iii] Taken from http://www.jasonbruges.com/studio
