Environment, Resources & Management
- Zoe
- Dec 29, 2024
- 5 min read
Updated: Mar 28
As Life Finds a Way moves closer to its final form, every detail - no matter how small - plays a crucial role in shaping the exhibition’s atmosphere. At this stage, the focus has shifted from broad conceptual planning to refining the sensory elements that will immerse visitors in the experience. Sound, lighting, display materials, and resource management have all become central concerns, each requiring careful decision-making to balance artistic vision with practical execution.
Crafting the Exhibition Environment
Soundscapes
The world of Life Finds a Way is not silent. Decay, transformation, and renewal are not passive processes - they are active, alive, and sometimes filled with sound. From the start, I knew that an immersive audio experience would be essential in pulling visitors into this world. The quiet hum of an abandoned machine overtaken by insects, the slow drip of water, the distant croak of a frog - all of these sounds reinforce the exhibition’s themes of nature reclaiming technology.
To achieve this, I’ve developed a layered soundscape:
Buzzing bees subtly sounding from the bee-covered radio, reinforcing the tension between technology and organic life.
Croaking frogs accompanying the bubblegum machine, immersing visitors in an environment where nature thrives despite human interference.
Soft ambient environmental sounds - rustling leaves, distant wind, and subtle echoes—tying the space together.
Integrating sound has required problem-solving. Rather than placing highly visible speakers throughout the gallery (which would break immersion), small, hidden speakers will be embedded within select props. This allows the audio to feel like it’s emerging naturally from the objects themselves rather than being artificially projected into the room.
Lighting & Spatial Atmosphere
Lighting remains one of the most critical components in controlling how the exhibition is perceived. It has the power to completely change the mood of the space, drawing attention to textures, creating shadows, and reinforcing the tension between decay and renewal.
Each framed print will be illuminated with individual spotlights, ensuring that the details - rusted metal, creeping moss, corroded surfaces - are clearly visible without harsh glare. The tech wall installation will be bathed in soft, diffused lighting to highlight the tangled wires and moss without overpowering the surrounding artwork. The hermit crab prop, featuring its bioluminescent algae, will have a dedicated blacklight source, making its eerie glow an unexpected discovery for visitors.
The gallery’s default overhead lighting, which is too sterile and bright for the intended atmosphere, will remain switched off or dimmed down. Instead, a carefully placed combination of controlled spotlights and ambient lighting will shape the space, allowing the works to emerge from the shadows like remnants of a forgotten world.
Beyond illumination, the physical layout of the exhibition has also required thoughtful consideration. Framed prints and sculptural props must feel interconnected, yet not crowded. The chosen gallery is more intimate than initially envisioned, which meant making selective decisions about which works to display. Instead of including every single prop, I’ve chosen to focus on the strongest sculptural elements - the bee-infested radio, the Polaroid camera overtaken by moss, the VHS tape tangled in fungi and wires.
Props will be displayed on minimalist black and white tables, chosen as a practical and aesthetic alternative to museum pedestals, which exceeded the budget. These tables create a neutral backdrop, ensuring that the viewer’s focus remains on the artwork itself. The gallery’s walls, left unadorned aside from the framed prints, will emphasize the contrast between photographic imagery and three-dimensional installations, reinforcing the dialogue between what is captured and what is real.
To maintain a clean, professional presentation, cohesive labels will accompany each piece. These will provide essential context without overwhelming the viewer, allowing visitors to engage with the work at their own pace. Additionally, a professionally designed brochure will be available, offering deeper insights into the conceptual and technical aspects of the exhibition.
Sourcing Materials & Managing Resources
With sustainability and practicality in mind, sourcing materials has been a careful balance between affordability, quality, and environmental responsibility. The sculptural props, which were completed in September, remain central to the exhibition, but how they are displayed is equally important.
Early on, I considered renting professional museum pedestals, but the cost quickly proved impractical. Instead, I opted for clean, minimalist white tables, which maintain a similar aesthetic while being far more cost-effective. Three of these will support the main sculptural props, with a wider table designated for the bee-filled radio due to its larger size and weight.
Budget Considerations & Financial Planning
Financial planning has been a careful process throughout this exhibition. Having anticipated the costs early on, I set aside a budget specifically for this phase, ensuring I could cover printing, framing, lighting, and display materials without last-minute compromises. While every effort has been made to stay within budget, I have also allowed for flexibility - an emergency fund is available should any last-minute changes or unexpected expenses arise.
Total budget for final exhibition production: €1,000 (after prop production)
Breakdown of major costs:
Printing (A1 archival inkjet prints) – €200
Frames (IKEA plexiglass) – €220
Lighting (spotlights, blacklight, dispersed tech wall lighting) – €210
Display tables for props – €200
Brochures & Posters – €180
Contingency Plans
While every effort has been made to ensure a smooth setup, backup plans are in place:
One extra frame is available in case of damage, and replacements can be sourced from IKEA within 24–48 hours.
Prints can be reprinted locally on short notice if needed.
Basic repair materials will be on hand to fix minor damages to props or frames.
With funds set aside for last-minute needs, unexpected challenges can be addressed quickly without compromising quality.
Managing Time, Logistics & Support
With so many elements coming together, staying organized has been essential. Managing deadlines, coordinating logistics, and ensuring no detail is overlooked requires constant attention. A structured system of to-do lists and planning tools has helped keep everything on track, allowing for a smooth transition from preparation to execution.
While much of this exhibition has been a solo endeavor, I’m grateful to have the support of friends and family, particularly in the final stretch. Their help will be invaluable for transporting the framed prints and fragile props to the gallery space, as well as assisting with installation. Some objects, like the VHS tape and spider-infested keyboard, are too delicate to be packed away, so they will be carefully hand-carried to avoid damage.
As the final elements come together, Life Finds a Way is no longer just a concept - it is becoming a tangible, immersive space. This phase has been one of careful planning, creative problem-solving, and resourceful decision-making, all with the goal of creating an exhibition that invites reflection, engagement, and a deeper appreciation for nature’s quiet resilience.
Final Thoughts: Last Steps Before Installation
As the environmental and logistical foundation is now fully in place, the focus shifts to finalizing print production, framing decisions, and assembling the last details for installation. Every decision so far has been made with the goal of creating an exhibition that draws visitors into a world of transformation, decay, and resilience.
Next up: Printing, Framing & Mounting - the final steps before installation begins.
