Frameless is the largest permanent multi-sensory experience in the world. It is a public gallery, based in Marble Arch where their concept is taking original paintings and turning them into immersive experiences.
Here I was asked to create an ambisonic sound design for Van Gough’s ‘The Starry Night’ painting. Ambisonics requires a lot of complex work making the sound move around a space. Although I had touched upon this before this was generally something quite new to me – I had to consider the space and the sonic movement of the piece.
The painting is one of the van Gough’s most famous pieces of work. I felt an enormous responsibility to get the sound just right. I began by studying the painting and where it was set, as this would affect the logical sonic environment massively; making sure everything was historically accurate and environmentally correct. Alongside this, I researched the meaning and context behind the painting. Studying how what I would need to match the mood behind the portrait.
At first, I found that I had made too complex a sound design. My work was far too rich and distracting to the viewer. Taking them away from the painting itself. During this process, I learnt that it is always important to understand a hierarchy of importance to the viewer in any area of sound design… For example, when creating a movie soundtrack, it is crucial to know when to pull back – leaving moments for the screen and vice versa. I discovered that the sound should only accompany the painting and leave as much artistic space for the viewer as possible! Space to interpret the painting as its own. My sound should never force feeling on people, instead leave them to think!
I found this process so interesting! Despite feeling a huge responsibility towards the legacy of the piece… less is sometimes more! My sound design was eventually mixed into the space and is now being shown at Frameless in Marble Arch! Which makes me so proud. I learnt to take a step back from the “complex”, and it achieved results!