A CREATURE A THOUSAND MILES LONG
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CRANE SARRIS
TABLE OF CONTENTS
5
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THE WILDS A select selection of narrative illustrations
13
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THE SANDBOX An odd arrangement of various characters and beasts.
25
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THE COASTAL PATH An accumulated selection of fine nature illustrations.
35
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THE ROCK A precise portrayal of architectural projects.
45
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THE FOG SPACE A curated collection of graphic posters.
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TABLE OF CONTENTS
THE WILDS
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1
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13
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25
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35
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45
A selection of narrative illustrations into wild places.
THE SANDBOX A meditative journey through erosional forces of time and light.
THE COASTAL PATH A spiritual journey across a defining landscape.
THE ROCK A point of social ascendance.
THE RAIN ROOM A reflection on the nature of space and wetness.
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ON ROCKS & NARRATIVES A FOREWORD ON THE OBJECTS FOUND IN THIS BOOK.
I am, at heart, a storyteller. A Creature a Thousand Miles Long, stands as a physical manifestation of the ineffable dreams, stories, and experiences that have defined my journey -- a meandering tale, one that has seen me traverse alpine forests, rainy coasts, and desert sands in the search of glittering stories, sacred spaces, and the sublime.
Narritives, like landscapes, are comprised of a
complex multiplicity of consituent elements. As rocks work in conjunction with grasses and lichens to create alpine meadows, narratives weave together disperate stroies to create rich textured landscapes upon which experiences are told. Like the forests, broken coastlines, and ancient sand dunes that inspired this portfolio, A Creature a Thousand Miles Long stands as a physical manefestation distinct from, but comprised of, the intricate web of interactions from which it arose.
Through the work presented in this collection,
I seek to generate within the viewer a sence of immersion within the landscapes shown; to create through imagery, design, and the written word, a sense of synesthetic exposure to the elements – to the very rocks, rains, grasses, and soils
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that comprise the worlds seen.
It is precisely through the synesthetic nature of
sensory exposure, that the minuscule and the ephemeral generate within a viewer a sense of monumentality that lingers long after an experience fades. Stories, whether seen, heard, or physically moved through, are best told in this way – not through a singular mode of expression, but through the tactile fluidity of experience.
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THE WILDS /
AN EXPEDITION INTO THE FOGGY SPACES OF A W I L D I M A G I N A T I O N.
This opening section features a series of sketches into the wilds of my imagination. Created as parts of larger narratives, and drawn through a cinematic lens, this section delves into what consitutes a landscape, how to best represent a complex system, and how visual media can induce synesthetic experiences that inspire the viewers to explore the worlds around them.
Landscapes are comprised of a kaleidoscopic mosaic of consituent elements. Within these complex systems, biotic and abiotic forces interact, compete, and engage with each other to create a rich fabric through which narritives are constantly at play. Through these works, I explore entire worlds in which natural elements–wind, rain, fog, and light– all play integral roles in constructing immersive landscapes. Despite only displaying cinematic stills of larger worlds, the works shown here represent static moments taking place in ever-flowing landscapes.
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2
3
THE SAND BOX /
A SYNESTHETIC EXPLORATION
INTO
L I G H T & S P A C E.
The Sandbox utilises the fluid quality of sand to generate an exploratory experience grounded in the delicate interplay between light, texture, and sound. Rooted in my experiences exploring canyons, and investigating the interplay between erosional forces and structure, this project represents my first foreways into structural design grounded in synesthetic experience.
Tasked with the creation of a fluid space that worked both vertically and horizontally, Gradual Contraction and rapid expansion Through the application of an opaque ceiling that doubles as a wall, inhabitants
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2
1
The Pavilion utilises sand as a medium to explore the
In order to best generate an immersive
tactile qulaity of light in generating spiritual exploration.
experience, one must first create moments
Throughout human histoy, light has signified In tis way,
of pause–spaces in which a viewer, or
when applied in controlled settings to draw the
reader, can explore the peramiters of their world and the constituent elements that comprise it. Through the consideration of all discrete elements – from the
Through the application of the juxtaposition between
lightest touch, to the gentlest sound, and
constricted space and rapid, abrupt expansion, the pavilion generates
2
1
The Pavilion utilises sand as a medium to explore the tactile qulaity of light in generating spiritual exploration. Throughout human histoy, light has signified In tis way, when applied in controlled settings to draw the
Through the application of the juxtaposition between constricted space and rapid, abrupt expansion, the pavilion generates
2
The Pavilion utilises sand as a medium to explore the tactile qulaity of light in generating spiritual exploration. Throughout human histoy, light has signified In tis way, when applied in controlled settings to draw the
Through the application of the juxtaposition between constricted space and rapid, abrupt expansion, the pavilion generates
1
The Pavilion utilises sand as a medium to explore the tactile qulaity of light in generating spiritual exploration. Throughout human histoy, light has signified In tis way, when applied in controlled settings to draw the
Through the application of the juxtaposition between constricted space and rapid, abrupt expansion, the pavilion generates
2
THE RIBBONED MILE /
A RITUALISTIC INSTILLATION DEDICATED T O T H E S E A.
The ensuing project utilises the tactile interplay between active sensations--physical sensations such as temperature, movement, and weather--and the passive stimuli of audio-visual experience to create a synesthetic journey for the participant; one that grounds itself in the natural sounds, touches, and smells of coastal natural elements.
The premise of the Ribboned Mile takes root in the ritualistic nature of public spectacle. Through the instillation of a mile of veiled structures across the Twelve Apostles Marine National Park in south-eastern Australia, the work seeks to illustrate our fragile, often conflicting, relationships with permanance, our unique landscapes, and spiritual expression.
1
THE COASTAL PATH /
A SYNESTHETIC EXPOSURE TO COASTAL E L E M E N T S.
The ensuing project utilises the tactile interplay between active sensations--physical sensations such as temperature, movement, and weather--and the passive stimuli of audio-visual experience to create a synesthetic journey for the participant; one that grounds itself in the natural sounds, touches, and smells of coastal natural elements.
Comic books are visual stories. Regardless of plot, characters, or stylistic choices, they fundamentally take
the
viewer
through
tangible
cinematic
experiences. Marrying narrative progression, action, and dialogue with imagery, graphic novels represent the liminal transition between film and literature. It is in this respect, perhaps more than others, that the medium of the graphic novel has been grossly underexplored.
1
The Pavilion utilises sand as a medium to explore the tactile qulaity of light in generating spiritual exploration. Throughout human histoy, light has signified In tis way, when applied in controlled settings to draw the
Through the application of the juxtaposition between constricted space and rapid, abrupt expansion, the pavilion generates
1
2
1
Wooden Fields are a series of ongoing wooden sculptures investigating the interplay between linear form, organic movement, and contrasting texture. Created from the physical splintering of larger trunks, both wooden masses are bisected by curvilinear rings of silver just bellow their apothesis. Commissioned for private use, the works
2
THE RAIN ROOM /
PRECIPITATING DIALOGUE ON OUR RELATIONSHIP W I T H R A I N.
The ensuing project utilises the tactile interplay between active sensations--physical sensations such as temperature, movement, and weather--and the passive stimuli of audio-visual experience to create a synesthetic journey for the participant; one that grounds itself in the natural sounds, touches, and smells of coastal natural elements.
Comic books are visual stories. Regardless of plot, characters, or stylistic choices, they fundamentally take
the
viewer
through
tangible
cinematic
experiences. Marrying narrative progression, action, and dialogue with imagery, graphic novels represent the liminal transition between film and literature. It is in this respect, perhaps more than others, that the medium of the graphic novel has been grossly underexplored.
1
THE COASTAL PATH
A SYNESTHETIC EXPOSURE TO COASTAL E L E M E N T S.
The ensuing project utilises the tactile interplay between active sensations--physical sensations such as temperature, movement, and weather--and the passive stimuli of audio-visual experience to create a synesthetic journey for the participant; one that grounds itself in the natural sounds, touches, and smells of coastal natural elements.
Light serves as the primary mode of guidance throughout the structure, drawing participants through the dark hallways towards the central chamber, wherein the focal experience takes place. By
1
2
ON ROCKS & NARRATIVES A FOREWORD ON THE OBJECTS FOUND IN THIS BOOK.
A Creature a Thousand Miles Long utilises two-dimensional space to make the intangible tangible, and by doing so, construct a journey – my story, a meandering narrative played across the rainy temperate coastlines, the foggy alpine mountain tops, and the desert sands that have defined my experience.
I am, at heart, a storyteller. A Creature a
Thousand Miles Long stands as a book of stories – a physical manifestaton of narratives set against the backdrop of broken coastlines, rain-soaked alpine forests, and ancient sands of landscapes both real and dreamt. Through the work presented in this collection, I seek to generate within the viewer a sence of immersion within the landscapes shown; to create through imagery, design, and the written word, a sense of synesthetic exposure to the elements – to the very rocks, rains, grasses, and soils that comprise the worlds seen.
Narratives, like landscapes, contain a complex
multiplicity of constituent elements. Dissassembled, these fragments stand as distinct individual entities within a greater kelidoscopic mosaic that is the whole. In order to best generate an immersive experience, one must first create
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moments of pause–spaces in which a viewer, or reader, can explore the peramiters of their world and the constituent elements that comprise it. Through the consideration of all discrete elements – from the lightest touch, to the gentlest sound, and even the faintest scent – one can create dynamic experiences that play upon sensory indulgence to stir contemplative reflection, generate inner dialogue, and incite the viewer to wander.
It is precisely through the synesthetic nature of
sensory exposure, that the minuscule and the ephemeral can construct a sense of monumentality that lingers long after an experience fades. Stories, whether seen, heard, or physically , are best told in this way: not through a singular mode of expression, but through the tactile fluidity of experience.
iv
THE WILDS /
AN EXPEDITION INTO THE FOGGY SPACES OF A W I L D I M A G I N A T I O N.
This opening section features a series of sketches into the wilds of my imagination. Created as parts of larger narratives, and drawn through a cinematic lens, this section delves into what consitutes a landscape, how to best represent a complex system, and how visual media can induce synesthetic experiences that inspire the viewers to explore the worlds around them.
Landscapes are comprised of a kaleidoscopic mosaic of consituent elements. Within these complex systems, biotic and abiotic forces interact, compete, and engage with each other to create a rich fabric through which narritives are constantly at play. Through these works, I explore entire worlds in which natural elements–wind, rain, fog, and light– all play integral roles in constructing immersive landscapes. Despite only displaying cinematic stills of larger worlds, the works shown here represent static moments taking place in ever-flowing landscapes.
1
THE WILDS /
AN EXPEDITION INTO THE FOGGY SPACES OF A W I L D I M A G I N A T I O N.
This opening section features a series of sketches into the wilds of my imagination. Created as parts of larger narratives, and drawn through a cinematic lens, this section delves into what consitutes a landscape, how to best represent a complex system, and how visual media can induce synesthetic experiences that inspire the viewers to explore the worlds around them.
Landscapes are comprised of a kaleidoscopic mosaic of consituent elements. Within these complex systems, biotic and abiotic forces interact, compete, and engage with each other to create a rich fabric through which narritives are constantly at play. Through these works, I explore entire worlds in which natural elements–wind, rain, fog, and light– all play integral roles in constructing immersive landscapes. Despite only displaying cinematic stills of larger worlds, the works shown here represent static moments taking place in ever-flowing landscapes.
1
THE WILDS /
AN EXPEDITION INTO THE FOGGY SPACES OF A W I L D I M A G I N A T I O N.
This opening section features a series of sketches into the wilds of my imagination. Created as parts of larger narratives, and drawn through a cinematic lens, this section delves into what consitutes a landscape, how to best represent a complex system, and how visual media can induce synesthetic experiences that inspire the viewers to explore the worlds around them.
Landscapes are comprised of a kaleidoscopic mosaic of consituent elements. Within these complex systems, biotic and abiotic forces interact, compete, and engage with each other to create a rich fabric through which narritives are constantly at play. Through these works, I explore entire worlds in which natural elements–wind, rain, fog, and light– all play integral roles in constructing immersive landscapes. Despite only displaying cinematic stills of larger worlds, the works shown here represent static moments taking place in ever-flowing landscapes.
1
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