The Clinic presents BETWEEN THE DOG AND THE WOLF

This multi-disciplinary work features in the visual art programme of the upcoming Auckland Arts Festival and will be installed at The Basement Theatre.

Between the Dog and the Wolf uses 3D sound technology to create an intimate, illusory world that blurs the lines between theatrical, digital and sonic performance. The audience literally sits at the centre of the installation, as projections and clever visual illusions, along with a rich binaural sound scape, evokes the characters and story. The theatricality of the work then plays out in the 'mind's eye' of the audience. The story that unfolds takes place at dusk, when the slowly fading light leaves two young adults shut in a room of a summer house, a space of hope and suspense.

Returning to NZ after 12 years living and working in Europe, NZ digital installation artist Julieanne Eason brings years of experience to her work. She began creating work with experimental theatre company the clinic in Christchurch during the early 2000's, before travelling to Berlin to complete her MFA at the University of Fine Arts (UDK) in Berlin, Germany in 2004. She then spent a further 10 years creating work in Barcelona, with installations exhibited around the globe, including America, Spain, Germany and Italy.

Julieanne's work utilises multiple video projections, sensors and audio within the set design as she investigates the relationships between audiovisual media, its audience, and the architecture of its presentation.

NZ is lucky to have this innovative artist working again in NZ and Between the Dog & the Wolf is a rare chance for Auckland audiences to see her work. In fact the use of this extraordinary binaural sound technology also features in the main-bill Auckland Arts Festival show,The Encounter, audiences can experience it again at The Basement for only a koha donation.

Between the Dog and the Wolf is a work of quiet intensity and lingering impact. The public find themselves inside the set of a simple living room. They sit on couches, and put on the headphones particular to each seated position. With the use of binaural sound recording the actors are heard speaking and moving as though they were present but they never actually appear live.

This type of audio recording simulates real-world aural experience, with each audience member hearing a slightly different version of the audio, as each track has varying characteristics and is edited at different speeds. This creates an uncanny illusion for the audience that the scene is unfolding all around them. Moving video images complimenting the audio are projected down into the set; shadows grow longer, text messages are received on mobile phones, the lights switch on.

The use of audiovisual technology within the installation serves to further amplify the thematic of the work - which is that time is experienced subjectively by each individual, and the way in which our perception and memory is shaped by our own personal context.

The work was originally created in 2016 for the Audacious Festival in Christchurch, hosted by the Auricle Sonic Arts Gallery. The set of the installation is designed by Hannah Beehre, 2016 Parkin Prize Winner.