The rise of multisensory installations like Frameless are an inspiring way for children to interact with art – but do they risk making the real thing seem less exciting?
You know Hieronymus Bosch’s The Garden of Earthly Delights? That psychedelic triptych chock-a-block with creatures real and imagined and the monstrosities of hell? Well, my toddler and I are in it. To be precise, we’re slap-bang in the middle of the cosmic central panel, which is projected on to the wide walls around us, as well as the ceiling and the floor. There are naked men and women riding bareback on ducks and deer and horses. Camels and cattle. Butterflies and birds. Pale legs lolling from a shell.
This is our first trip to Frameless, an immersive art experience near Marble Arch in London that bills itself as a place “where art breaks free”. Call me a traditionalist, but digital art isn’t usually my thing. I enjoyed David Hockney at the Lightroom, where I also took my son to see the dinosaurs – the day we went, the audience was almost exclusively made up of tots and their adults. But I prefer paintings to be still rather than animated. I like to concentrate on a canvas rather than watch it deconstruct and dissolve. I want art to be meaningful and long-lasting. Tangible. Real.
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The rise of multisensory installations like Frameless are an inspiring way for children to interact with art – but do they risk making the real thing seem less exciting? You know Hieronymus Bosch’s The Garden of Earth...
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