For the Supercompensation Cycle, an artwork by artist Emma Smith to coincide with the Women’s Euro 2022 games, vPPR collaborated on the creation of eleven colourful structures to house holographic projections, exhibiting local residents’ everyday physical warmup movements in host cities.
Project
- Use: Exhibition and Performance
- Status: Completed
- Size: 11 pods
- Date: Completed 2022
- 9 installation sites:
- Friday 1 July, Trafford, 12:00 – 18:00 [I]
- Friday 8 July, Wigan, 13:00 – 19:00 [I & P]
- Sunday 10 July, Southampton, 13:00 – 19:00 [I & P]
- Thursday 14 July, Brighton, 12:00 – 19:00 [I]
- Sunday 17 July, Rotherham, 12:00 – 18:00 [I & P]
- Thursday 21 July, Sheffield, 13:00 – 18:00 [I & P]
- Monday 25 July, Milton Keynes, 17:00 – 19:00 [I & P]
- Tuesday 26 July, Milton Keynes, 10:00 – 15:00 [I]
- Saturday 30 July, Wembley, 14:00 – 17:00 [I & P]
Team
- Client: Emma Smith
- Artist and Director: Emma Smith
- Choreographer: Lorena Randi
- Musician: YaYa Bones
- Guest Flautist: Carla Rees
- Sound Engineer & Technical Consultant: Daniel Halford
- Filming: Foreign Body Film
- Artist Assistant: Abbie Doran
- Artist Assistant: Georgie Grace
- Assistant Choreographer: Amy Holly
- Producer: Aldo Rinaldi
- Structural Engineers: Foster Engineering
- Fabricators: Stage One
- Installation: Jayhawk
- Photography © Andy Stagg
- Photography © Lewis Ronald
PROCESS
The metal and polycarbonate structures allow the large holographic artworks to be exhibited at all times of the day and in all weather conditions. Each structure is brightly coloured, with a black internal backdrop to foreground the hologram.
As a temporary installation – like a match – lasting one day in each city, the structures are designed to be easily installed and dismounted, and then transported in a truck between cities. Responding to different site conditions, they were designed to accommodate significant wind load and weighed down with balasts concealed in their plinths.
The artwork creates many layers of performances – the hologram projections, the live performances, the public visitors – and finally the architectural elements which are also performative as they are assembled and reassembled in each location, providing a strong visual backdrop to reflect upon the history and future of women’s football.
