Through the medium of exhibitions, programs, digital media and virtual environments, the 'new curator' identifies and articulates creative content that explore progressive and experimental ideas (Watson 2021, p.13).

Within the innovative landscape of Chroma, our approach aligns seamlessly with the principles of the 'new curator,' as outlined by Watson (2021). Through our interactive art installation, which leverages exhibitions, programs, digital media, and virtual environments, Chroma transcends conventional boundaries, transforming into a curated space where the 'new curator' emerges.

According to Watson (2021), this curated space goes beyond the confines of traditional art presentations, offering a dynamic canvas for the convergence of technology and artistic expression. The incorporation of digital media and virtual environments enhances the immersive experience, allowing Chroma to push the boundaries of conventional curatorship.

In essence, Chroma embodies the spirit of the 'new curator,' redefining the role within the contemporary art landscape. By providing a platform for experimentation and pushing the boundaries of artistic expression, Chroma stands as a testament to the transformative power of curated spaces in fostering creativity and innovation (Watson 2021).

In the context of Chroma, the approach to curation aligns with the principles outlined by Watson (2021), emphasizing the transformative role of curated spaces in fostering creativity and innovation. Watson's perspective advocates for a departure from using artists and their works merely to illustrate a curatorial proposal. Instead, it emphasizes the significance of conversations and collaborations with artists, allowing their input to steer the curatorial process from the beginning (Obrist 2014, p.33).

The concept behind Chroma was born out of a collaborative and explorative spirit. The creators, I and Selina, sought to embark on a venture that extended beyond the conventional. With a desire to create something substantial, we delved into uncharted territory, each contributing our unique skills and ideas. In this collaborative process, the goal was not to subordinate artists and their works to a predefined curatorial premise but to let their input guide the evolution of the project. My aspiration to learn touch designer and delve into interactive art, coupled with Selina's vision of integrating it with pole dancing, shaped the genesis of Chroma. This collaborative approach echoes the sentiment advocated by Watson, emphasizing the pivotal role of artist input in steering the curatorial process.

Obrist's perspective that "The role of the curator is to create free space, not occupy existing space" (2015, p.154) aligns well with Chroma's innovative approach to curation and the collaborative ethos highlighted in the previous paragraphs.

In the context of Chroma, the curation process is not about fitting artistic elements into predefined spaces but about creating an entirely new and liberated space for artistic expression. The utilization of exhibitions, programs, digital media, and virtual environments in Chroma transforms it into a curated space, as discussed in the first paragraph. This approach exemplifies the curator's role as a creator of free space, allowing for the convergence of technology and artistic expression to unfold without constraints.

Moreover, the collaborative genesis of Chroma, as discussed in the second paragraph, further reinforces Obrist's perspective. The creators, you and Selina, were not seeking to occupy an existing space but rather to forge a new one. The project was born out of a desire to explore uncharted territory, combining your aspirations to learn touch designer and delve into interactive art with Selina's vision of integrating it with pole dancing. This collaborative venture resulted in the creation of Chroma, a unique and liberated space that goes beyond the constraints of traditional art presentations.

In summary, Chroma exemplifies the role of the curator as a creator of free space, aligning with Obrist's perspective by focusing on the generation of a new and innovative artistic environment rather than conforming to existing paradigms.

Role for This Project

My primary responsibility for this project centered around developing the Kinect-driven projection. This involved not only creating the visual elements but also navigating the intricacies of the physical space—learning about the projectors available, understanding the layout of the room, and integrating the Kinect technology seamlessly with the projectors. In addition to this technical role, I took charge of the promotional aspects, managing the Instagram page, creating event trailers, designing posters, and conducting on-campus promotions through word of mouth.

On the day of the event, I played a pivotal role in the setup of the X Pole Stage, ensuring everything was in place for Selina's performance. Beyond the technical setup, I took on the role of engaging with guests who were curious about the visuals, providing insights into the technology and adding to their overall experience. Collaborating closely with our guest DJ, I carefully selected tracks to complement Selina's performance, contributing to the immersive and cohesive atmosphere of Chroma.