Mad Arts had the pleasure of hosting Sound the Deep Waters, a captivating projection-based installation by Josh Miller & Angela Fraleigh. Guests could use a QR code to submit secret messages which would then be translated into unique Victorian flower language. What resulted were bold, brilliant, larger-than-life floral compositions materializing right before their eyes. 

While Josh Miller's creative practices operate at the intersection of art, design, and software development, Angela Fraleigh's oil and mixed media paintings explore gender, sexuality, femininity, and power dynamics, combining realism, abstraction, and classical influences.

The artists sat down with us to explore their work and what it was like collaborating with the team at Mad Arts.

Q: What are some unique or unexpected aspects of collaborating on this installation with Mad Arts? 

A: Mad Arts has a variety of unique projection surfaces & immersive spaces. We were able to exhibit Sound the Deep Waters on the building facade for IGNITE, and later, the piece moved to an infinity wall in the front gallery. Participants were able to engage with the piece in a more thoughtful way and immerse themselves in the visuals. This has never been possible with any previous iterations of the piece in other locations. It was a wonderful location to exhibit our work.

Q: How do you see your work being impacted/inspired by other work happening in parallel at Mad Arts? Have you met other artists or forged any collaborations? Are you planning any future proposals for Mad Arts?

A: I have connected with other artists from Mad Arts on social media and have been following their work and making connections. Would love to collaborate; the work in the space is diverse and inspiring. I have ideas in mind for a future proposal. I hope to return soon!

Q: What role does audience engagement play in your installation? What does it mean to you to receive over 11,000 submissions from guests? Does audience participation influence the direction and meaning of your work?

A: The piece doesn't exist without audience engagement. There are around 18,000 words in the database which correspond to about 200 flower images. If you combine more than one word you get more than one flower. Because participants were able to sit and experiment with the piece, they submitted more thoughtful and interesting content. Many people shared their bouquets on social media and returned to create more content. Audience participation is at the core of all of my work; I have no interest in creating static content. Projection mapping is beautiful, but without interaction, the wonder quickly fades. If the participant can see themselves in the work, if they can change it, something magic happens. That's the space that inspires me to create new work.

Q: Your installation uses a QR code to translate messages into Victorian flower language. What inspired you to combine modern technology with whimsical visuals inspired by the past?

A: The QR code allowed people to quickly interact with the piece without downloading an app. In an early version of the piece, we used an iPad to collect input. But when moving to the QR code, it allowed people to spend more time with the piece (and allow for multiple simultaneous users) and the visuals were more dense and varied. 

Sound the Deep Waters 

This projection-based art installation invited visitors to submit secret messages that were translated into Victorian flower language before their eyes. Participants scanned a QR code onsite to submit anything from love letters and prose to inside jokes. Visitors watched as their private words became bold, brilliant, larger-than-life floral compositions associated with their messages’ meanings.

Audience Submissions

Impressively, Sound the Deep Waters saw a total of 11,508 submissions packed with emotion, fun, and silliness! Check out some of the most memorable messages below:

• The love for my family will forever be present. The warmth embrace mixed with sunshine rays of support. My happiness radiates through those close to me. My daughter is my pride and joy.
• The Beauty Of Technology
• Everything is connected
• The universe is absolutely perfect
• Where the gravity grows an apple falls harder and harder with each passing minute and second of time and space supercalifragilisticespialidocious
• Everything in moderation, including moderation.
• Hey buckaroo, how are you? whipped cream on top and a cherry too? pants with pleats? yes i do. a steam engine goes choo choo choo choo.
• Through all time, through all dimensions, past, present, future, you are loved
• Tomorrow is never guaranteed, enjoy today as if it was your last.

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About Josh Miller

Josh Miller works and teaches in the intersection between art, design, and software development. After receiving an MA in Computer Science and an MFA in New Media, Josh taught courses in web & graphic design, video game design, creative coding, UX, and application development. Josh’s true interests lie in the intersection between design, programming, and innovative user experiences. This influences not only his teaching, but also his professional practices, where he focuses on the development of interactive installations and user-focused online experiences. Josh has recently exhibited interactive installations as part of the Agrikultura exhibition in Malmo Sweden, DLECTRICITY in Detroit, the InLight festival in Richmond, VA, and a solo show in Allentown, PA. Josh is an Associate Professor of Communication Design at Kutztown.

About Angela Fraleigh

Angela Fraleigh earned her MFA from Yale University School of Art and her BFA from Boston University. Her solo exhibitions include Hirschl & Adler Modern and PPOW Gallery in New York, Inman Gallery in Houston, TX, Peters Projects in Santa Fe, NM, and James Harris Gallery in Seattle, WA.

Fraleigh has created site-specific solo projects for the Edward Hopper House Museum, Vanderbilt Mansion Museum, Everson Museum of Art, Delaware Art Museum, and Weatherspoon Art Museum. Her work is included in Gilded: Contemporary Artists Explore Value & Worth at the Weatherspoon Art Museum; traveling to The Hood Art Museum and Hunter Art Museum. Her work can be found in museum collections such as the Museum of Fine Arts Houston and the Kemper Museum of Contemporary Art. She has been the recipient of several awards and residencies including the Yale University Alice Kimball English grant, the Sharpe-Walentas Studio Program in Brooklyn, NY, The Core Program at the Museum of Fine Arts in Houston, TX, and the Bemis Center for Contemporary Arts in Omaha, NE, among others. She currently lives and works in New York, NY, and Allentown, PA where she is a Professor at Moravian University.