This installation draws on the 1850 km walking journey from Lancing, England, to Stra, province of Venice, Italy, undertaken between the 7th of June – the 24th of August 2021.
From the outside, the visitor is presented with a short video summarising the journey, displayed on a screen, alongside a smaller television showing a live feed of the activity occurring within the space.
This setup serves as an invitation, sparking curiosity and encouraging the visitor to enter and investigate the installation further. The juxtaposition of the recorded journey and the live feed hints at the interplay between past experiences and present interactions that define the installation’s themes.
This image captures the interactive essence of the installation, inviting visitors to physically engage by walking—either naturally within the space or on a specially designed walking machine—to access the video projection of my journey’s experiences and encounters.
Once inside, the installation juxtaposes my impressions of being in the real world with the artificiality of the enclosed gallery space. Although the experience remains a simulation, it aims to bridge the gap between the authenticity of my journey and the constructed environment of the exhibition. Walking becomes central to the piece, symbolising movement not only through physical space but also through personal memory and reflection. At the heart of the installation is a two-hour and two-minute video that loops continuously but remains concealed until activated.
The guiding principle is clear:
NO WALKING, NO VIDEO.
The projectors are connected to a computer system that reads data from the walking machine’s speed sensor. The video plays silently in the background, but it is only when someone steps onto the machine and starts walking that the projection comes to life on the surrounding screens. This interactive feature transforms the experience from passive observation into active participation. Visitors must physically exert themselves to unlock the visual narrative of the journey, echoing the effort and dedication required during my own peregrination.
The piece underscores the connection between movement and perception, suggesting that understanding and empathy are heightened through embodied experiences. By engaging with the walking machine, visitors not only witness the journey but become part of it. Their footsteps trigger the visuals, creating an intimate relationship between their actions and the unfolding story. This sensory involvement invites deeper reflection on themes of exploration, endurance, and the passage of time.
The installation also questions the boundaries between reality and simulation. It asks how experiences are conveyed and reimagined within controlled spaces, highlighting the contrast between the expansive possibilities of the real world and the limitations of a gallery setting. This juxtaposition underscores the challenges and opportunities inherent in artistic representation.
Ultimately, this immersive environment aims to evoke the sensations of the journey whilst acknowledging its inherent artifice. It invites visitors to reflect on the intersections of movement, memory, and space, encouraging them to consider how personal experiences can be shared and interpreted. The installation becomes a space of connection, where the physical act of walking serves as a bridge between my journey and the visitor’s own meditations on movement, discovery, and the significance of time.
This section of the installation features 15 column-like structures that connect the floor to the ceiling, creating a powerful visual representation of connection and support.
Each column is made from knitted cotton, symbolising the extraordinary individuals who offered their hospitality during my journey—our “Trail Angels.” These were strangers who, with kindness and generosity, opened their homes without fear or hesitation. Their support became a vital part of the journey, represented here as columns that hold the space together.
Six of these columns contain small speakers, softly playing the whispering voices of these hosts as they recount the stories of our encounters. These intimate narratives add a personal and emotional layer to the work, inviting visitors to listen to the tales of connection and generosity that shaped my peregrination. The combination of sound and structure serves as a poignant tribute to the kindness and support I experienced along the way.
Additionally, the rucksack on the floor is the same one that accompanied me throughout the entire journey. It weighed 12 kilograms, the exact weight I carried on my shoulders for the duration of the walk. Visitors are invited to try on the rucksack, allowing them to feel the physical weight of the journey and gain a deeper understanding of the endurance and effort required. This interactive element bridges the gap between my experience and the visitor’s, encouraging a more embodied engagement with the themes of the installation: movement, connection, and memory.
