INSTALLATIONS
Macau Days - Migration Museum / Oz Asia Festival
Gallery Installation
The ‘Macau Days’ installation & exhibition was a collaboration between John Young (Artist), Brian Castro (Poet) and Luke Harrald (Composer / Sound Artist). It was commissioned by the JM Coetzee Centre for Creative Practice.
An interdisciplinary gallery installation and tri-lingual book, the work responded to the history of Macau; its mythical figures, culture, music, literature and cuisine, and the migration story of Castro and Young.
I developed the software and hardware for the system to run the installation and composed the soundscape. Holosonics panels were used to create three columns of sound within a quadrophonic surround mix, where audience members could hear 6 of Castro's poems in English, Portuguese and Mandarin simultaneously depending on where they stood in the space. During Oz Asia festival, the work attracted 4000 visitors.
Photograph by Luke Harrald, 2017 OzAsia Festival.
Way of the Warrior - Adelaide Oval
Permanent Site-specific Installation
'Way of the Warrior' is a permanent sound installation that was a collaboration between Luke Harrald (Composer / Sound Artist) and James Coulter (Experience Design / Project Management). It was commissioned by the Adelaide Oval Stadium Management Authority.
The work aims to give audiences a sense of what it is like for elite sports people as they walk out onto the iconic ground in front of an audience of 50,000 fans. Making use of a unique approach to audio spatialisation using an array of 16 speakers, the majority of which are hidden, the work explores the suspension of disbelief, and how experiences can be custom built into spaces that blur the real and installed environments for audiences. Way of the Warrior has been seen by more than 75,000 visitors to Adelaide Oval, with tours attracting 500 people per day in peak periods.
Photograph by Alex Filmeri. Click to view a mini-documentary about the work that was made for the University of Adelaide.
10 Minutes to Midnight & Ngurini (Searching)
Nuclear Futures / Alphaville Productions
Gallery Installations
'Ten Minutes to Midnight' and 'Ngurini' are immersive digital artworks that respond to the legacy of atomic testing in Australia and were commissioned by Alphaville Productions. These twin works brought together the stories of military veterans of the tests and the displaced indigenous community who's country was the site of the tests to tell the story and its aftermath from two different perspectives.
A collaboration between artists Teresa Crea (dramaturg & director), Linda Dement (Digital Artist), Jesse Boylan (Photographer), Nic Mollison (Theatre Design / VJ), Luke Harrald (Composer / Sound Artist), and Paul Brown (Producer), and communities including the Australian and British Nuclear Test Veterans Associations, and the communities of Yalata and Oak Valley. Across multiple exhibitions, these works attracted audiences of approximately 40,000.
Comprehensive information on these works, and the project as a whole can be found at the Nuclear Futures website. Photograph by Nic Mollison, 2015 Adelaide Fringe Festival.
Heritage Blinman Mine Experience
Permanent Site-specific Installation
The Heritage Blinman Mine Experience is a permanent, immersive sound and light experience housed in an abandoned mine in the Northern Flinders Ranges. A collaboration between artists Teresa Crea (director), James Coulter (visual design), Malcolm Walker (writer), Peter Heydrich (photography / physical installation) and Luke Harrald (composition / sound design), Irving Cains (mining works) and the community of Blinman, the work was commissioned by the South Australian Tourism Commission to revitalise the local economy.
The work takes techniques of contemporary gallery work, and uses these as a new approach to heritage interpretation incorporating custom lighting, theatrical elements and a 32-speaker sound array to create an immersive, multi-sensory experience for the audience. In its initial form it attracted an audience of 42,000 tourists from 2010 - 2016. Following damage in 2016, the work was re-worked by the community and remnants of it still exist today attracting approximately 7000 tourists each year. Photograph by South Australian Tourism Commission.