Windifield was a participatory live-art experience produced by Blu Abis
directed by Ángela Amarilla and Fabián Díaz
To frame an immersive theatre play around themes of loss and remembrance
I designed a graveyard in a dessert
I designed a graveyard in a dessert
Placing 2 tons of sand on the 4th floor of Notagallery in Berlin
and installing 9 industrial fans hidden in the darkness
the space became a playground for the senses
where people could interact as they pleased while the space
and installing 9 industrial fans hidden in the darkness
the space became a playground for the senses
where people could interact as they pleased while the space
Traffic was a speculative performance designed as a fully immersive, sensorial experience. I was responsible for the spatial design, visual identity, and prop design, creating an environment that blurred the boundaries between stage and installation art.
The entire floor of the room was covered in sand, and eight large, industrial silent fans were mounted high on the walls (above 1.8 meters), generating a continuous breeze throughout the space. Audience members were invited to remove their shoes before entering, encouraging a raw, physical connection with the space. It felt like stepping onto a windy beach — indoors — where the elements were carefully engineered but atmospherically unpredictable.
To heighten the intensity and remove any external cues, I blocked all the windows and surrounded the room with heavy, red wine-colored curtains, creating a sense of isolation and immersion. The installation became the stage for the performers, influencing how the play unfolded spatially and energetically.
I collaborated closely with light designer Veslemøy Rustad Holseter to craft an ever-shifting lightscape, using movement, color, and contrast to sculpt mood and rhythm throughout the piece. Together, we transformed the installation into a live, breathing environment that responded to and amplified the performance’s emotional landscape.
Rather than functioning as mere décor, the scenography was conceived as an active co-narrator: a space that shaped the performers' possibilities and challenged the audience’s senses — physical, visual, and emotional.
