Naked life-size figures slowly moved on the screens, walking along the ground, but the viewers’ presence as a catalyst incited abrupt changes in the behaviour of the cyber dancers. As if attracted and repulsed into a gravity well, the figures started flying into their own orbit, being pulled down or up, dissolving. At the same time text ran on the screen, coming from nowhere, going nowhere, contributing to an enigma of ambiguity. Originally taken from William Blake’s Marriage of Heaven and Hell, the text displayed was transformed into new forms through an interactive ‘grammar engine’ programmed by the artist himself.

In 1997 Fabrica arranged the notorious talking mouth on the pavement outside the gallery. In 1998 visitors found themselves surrounded by images of flying human figures swirling around their heads.

Acclaimed multimedia artist SImon Biggs used video projection and ‘realtime’ computing, to create a series of moving digital images of human figures. The figures float around the old church building in which Fabrica is housed; swirling through and around one another like spirits.

Halo interacted with any number of viewers at any one time. As the viewer crossed the video beam, the figures appeared to be magnetically pulled into his or her presence, rotating around their head. The ultimate effect being a large halo composed of rings of iridescent flying human figures, spinning faster and faster around the viewer’s head.