From idea to installation: Creating outdoor light art with Amalie Solande from Vertigo

Amalie Solande from Vertigo, a Copenhagen-based audiovisual artist collective, discusses their outdoor light installation, Siro, in this episode. The installation features a circle of large light tubes that change colour when approached by the audience, creating a magical and immersive experience. Amalie also shares insights into the collaborative process at Vertigo and the challenges they faced in creating the installation. Tune in to learn more about their unique approach to blending nature and technology in their art.

Listen to this episode to learn about:

• The innovative approach Vertigo takes in integrating technology with natural environments
• The importance of collaboration in tackling both creative and technical challenges
• Practical insights into the prototyping and execution of site-specific installations

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Highlights

(1:28) Interactive light installation transforms with audience proximity
(4:09) Unveiling the magic of fairy rings in nature
(5:01) Merging technology with nature
(7:43) Crafting magical light installations for a winter festival
(9:50) Integrating Sketchup and Touchdesigner for visual simulations
(13:16) Diverse skill sets in a creative team
(14:02) Collaborative dynamics in the team
(16:46) Overcoming weather challenges in outdoor light installations
(17:19) Risk assessment
(19:21) Illuminating the wave: a transformative light and sound journey
(20:36) Embracing fun in the challenges of light art

About Vertigo

Established in 2011, Vertigo is a Copenhagen-based audiovisual artist collective known for its inventive light installations, scenographies, and immersive experiences. Vertigo’s work often incorporates elements of nature and technology, creating a magical and contrasting experience for audiences. Vertigo's portfolio includes exhibitions at Copenhagen Contemporary, SNFCC in Athens, Centre Point in London, and many highly prestigious venues. The collective's success can be attributed to its members' unwavering dedication to their craft and shared vision.

Collaborations with the Copenhagen Philharmonics, Den Sorte Skole, Who Killed Bambi, DR Symphonic Orchestra, Lil Lacy, and Hotel Pro Forma have expanded Vertigo's creative horizons. In 2023, the collective earned a Reumert Prize nomination for their work on Sky66en.

Takeaways from this interview with Amalie Solande

Description

SHIRO is a responsive light installation consisting of 48 two-and-a-half-metre tall light-immersed cylinders, placed in a large circle. This creates a magical experience in the middle of a forest.

Concept

The inspiration for SHIRO came from the theme of bringing light to the dark winter in Denmark and the natural phenomenon of fairy rings.

We really like the contrast created when having nature with its very soft shapes and colours, and then bringing in something very technical with hard shapes and strong light. This contrast creates something magical that doesn’t appear in the same way when done indoors or in an industrial building - Amalie Solande

Prototyping and problem-solving

Prototyping plays a crucial role in the team’s creative process, allowing them to test and refine their ideas before bringing them to life. They use different approaches and tools for various aspects of installations.

SketchUp is better for figuring out where to place everything and doing the kind of scenography work we do a lot. TouchDesigner is better for visuals, graphics, and the AI side of installations explains  - Amalie Solande.

Risk management

Conducting a risk assessment helps the team prepare for and mitigate potential problems, ensuring smoother execution and fewer surprises during the project.

When it’s an installation that is to run for several weeks, where we won’t be present all the time, it’s very important for us to figure out how we can maintain it and ensure it lasts for the whole period. We also need to plan what we will do if something fails - Amalie Solande

Advice

Remember to have fun because sometimes it can get tough when you have to problem-solve or work outside in the cold months. It can take a lot of time, but when it works in the end, it’s all worth it. - Amalie Solande

Links from the podcast  

• Learn more about  SHIRO
• Visit the Vertigo website 
• Follow Vertigo on Instagram  
• Follow Amalie Solande on Instagram  

Edited transcripts of From idea to installation: Creating outdoor light art with Amalie Solande from Vertigo

Robin Petterd: What’s it like for an audience member to experience SHIRO?

Amalie Solande: SHIRO is a circular installation with 48 large light tubes, each two and a half metres tall, emitting light all around. As people approach the circle, they can experience it both from outside and inside. Initially, the lights are a soft white, but they change to red or blue, mimicking fire or water.

Robin Petterd: Does a single person trigger the transformation of the entire circle, or just the section they’re near?

Amalie Solande: It triggers the whole installation. We use three radar sensors placed around the circle. When someone gets within a certain distance, the sensors activate and the lights change colour. Multiple people can trigger it from different locations.

Robin Petterd: Where did the idea originate?

Amalie Solande: It started with a winter light festival in Denmark. They wanted installations that would bring light to the dark winter months and appeal to families and children. We had already built these light tubes and wanted to see how they’d look in a circular layout. We were also inspired by fairy rings—naturally occurring circles of fungi that carry myths about magical creatures. The whimsical story fit well with the festival’s theme.

Why do Vertigo’s installations connect technology with natural environments?

Robin Petterd: Vertigo often works in natural environments. What draws you to that?

Amalie Solande: We enjoy the contrast between nature’s soft forms and the hard, structured light installations. The juxtaposition makes the experience magical—something you can’t recreate indoors. While our fixtures are static and linear, the light itself is fluid and organic, and that blend is key.

Robin Petterd: Talk a bit about the sensing technology.

Amalie Solande: We use radar sensors that detect motion and velocity, programmed in TouchDesigner. They’re connected to a computer where we control how and when the light reacts.

How do artists use SketchUp and TouchDesigner in light installation art?

Robin Petterd: How did you approach building SHIRO?

Amalie Solande: The festival prompted us to decide whether to create something new or adapt something existing. We reused our weatherproof Quadlets—tubes with LED strips on all four sides. We prototyped with a few fixtures in our studio and used SketchUp for layout and TouchDesigner to simulate visuals and interactions.

Robin Petterd: Why use both SketchUp and TouchDesigner?

Amalie Solande: SketchUp is great for scenography and spatial planning. TouchDesigner is better for visuals, AI, and interactivity. Combining them lets us plan the space and test the experience.

What are the collaborative processes behind Vertigo’s site-specific installations?

Robin Petterd: Vertigo’s a small, collaborative team. How do ideas develop?

Amalie Solande: We’re five people with different skills—prototyping, sound, visuals, AI. Sometimes ideas come from external proposals, other times from within the team. We often brainstorm formally and informally. Being in a small studio helps—we share ideas quickly and easily.

Robin Petterd: What challenges did you encounter with SHIRO?

Amalie Solande: Weather was a big issue—it rained heavily during setup, making the forest muddy. We had to design sturdy foundations and consider safety, especially for children. We also ran risk assessments to prepare for any failures, since we wouldn’t be on-site for the entire installation period.

What can artists learn from SHIRO and Vertigo’s other projects?

Robin Petterd: What’s the team working on now?

Amalie Solande: We’re touring with two theatre plays where we designed the scenography and lighting. I’m also touring with a band. We plan to return to light installations later this year. Recently, we exhibited “The Wave” in Copenhagen.

Robin Petterd: What’s “The Wave”?

Amalie Solande: It’s an 80-metre-long installation made of 40 triangular light gates, each three metres tall. Visitors walk through the gates, experiencing shifting light and sound. Each gate has its own speaker, so the sound changes as you move.

Robin Petterd: It sounds like a transformative journey. Any advice for other light artists?

Amalie Solande: Remember to have fun. Working outdoors in winter is tough—things go wrong, and problem-solving takes time. But seeing your vision realised makes it worth it. Enjoy the process, even the hard parts.

Robin Petterd: That’s a great reminder.

Robin Petterd: That reminds me of something from my own experience. I was once setting up an experimental installation in a gallery, and a colleague asked me, “Why do you do this stuff? It looks so hard.” And I said, it’s really about the end result. Sometimes it’s difficult to get there, but that outcome makes the effort worthwhile.

Robin Petterd: Thank you, Amalie.

Amalie Solande: Thank you for having me.