Artistic Techniques of Light‑Volumetric Installations in Immersive Environments L&E, Vol.34, No.3, 2026
Articles authors:
Leon M. Bedoev
Leon M. Bedoev, Master of Arts Education (Herzen State Pedagogical University of Russia, St Petersburg, 2008). Associate professor, Moscow State Institute of Culture (MGIK). Member, Creative Union of Artists of Russia. Portfolio: http://leonartbedoev.ru. Author and lead instructor, public course ‘Museum Pedagogy’ (St Petersburg, Yerevan, Vanadzor, Moscow). Contributor to radio and television programmes. Host, ‘Small Business of Moscow’ webinars. Participant: ‘Vykhod (Exit)’ Art Residency (Petrozavodsk); group exhibitions (St Petersburg, Novorossiysk, Solovetsky Islands, Moscow). Author of journalistic works on education and art (St Petersburg/ Moscow publishers). Research interests: history, theory and practice of visual arts; 19th‑20th century art and design; traditional/digital technologies; virtual reality and artificial intelligence; Asian and African art; cultural studies; interpretation; creativity studies; artistic problem-solving; typology and synthesis of arts
Abstract:
The article presents the results of a study of compositional and lighting techniques in digital interior installations from four immersive exhibition environments (teamLab Planets TOKYO, Arte Museum New York, Luminar, Futurione). The analysis focuses on the architectonics of space, spatial composition, and the parameters of light. It is shown that the immersive experience is formed according to a three-level strategy: the scripted route as a meta-composition, the composition of installations as a coherent world, and light dramaturgy as the core of multisensory synthesis. Four basic compositional techniques (infinity, densification, dematerialization, light-scape) and four lighting techniques (light dramaturgy, light pointillism, materialization of light, multisensory synchronization) are systematized. Based on the synthesis of the route and these techniques, four behavioural modes of visitor presence are identified (labyrinth-like movement, free wandering, fixed contemplation, tactile involvement).The obtained results form a methodological framework for the design of immersive environments and can be applied in lighting design, media architecture and curatorial practice in digital art. One of the empirical sources of the study is an interview with representatives of the company d’strict.
References:
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