With Eno the visual manifestation of his ambient music has always been an abiding preoccupation. The audience response as I recall it was the same – long visits, repeat visits, allowing the immersive environment to take them into its charm.īrian Eno, like many of the artists and artistes that broke through in the 1970s attended art college. Then the TV’s were bulky diode tube, the VR was VHS tape, the sound system transistor, the environment was looser with the electronic glow from the TVs rolling through various colour wheels gently illuminating the darkened space.
I first presented Eno’s installations at the Douglas Hyde Gallery in the Spring of 1986. A multi-screen wall combined with rolling ambient music, carpeted floor and couches to draw people in to spend hours in the gallery and yielded many return visits.įor me, it was a powerful authentic symphony of the visual and the aural, and it was a little more… another chance to work with an artist after thirty-three years, a lifetime. It was a mesmeric installation turning the voluminous space of the main gallery into meditative and intimate environment. Over 30,000 people visited the RHA in January and February 2019 to view the Brian Eno exhibition.
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