Beginning to edit my film

For the audio track of my film, I would like lots of clips of people stating things they like and dislike about themselves, and some habits they have. Even if my idea develops and I choose not to use them, I think it will provide some interesting research, and will give me an insight into what people think about their bodies and what behaviours they habitually perform, so that I can then capture them on camera or film. 
I have begun to ask peers to send me these voice clips (see video below). They seem to last roughly 10 seconds, and I am finding it interesting to analyse them. People seem to sound unconfident when talking to a recording, even if they have done it alone on their own device and sent it to me. They almost adopt a more well-spoken voice and speak less fluidly - perhaps this could be avoided if I was to record an actual conversation, where I ask them directly, "What is something you like about yourself?" I find it interesting that although we are in an age where people are so attached to their mobile phones and frequently talk into them anyway, they become uncomfortable when put on the spot and asked to identify their good and bad qualities. 
I am aiming to edit and cut these clips and play them over my visual footage of moving bodies, perhaps with some music as well, to invite the sense of hearing as well as sight and touch; and to involve the idea of self-awareness and being mindful of one's appearance, hopefully promoting a greater sense of social acceptance and self-love. 

Using iMovie on my MacBook Pro, I have started to edit the film element of my project. I looked through the footage and found some good shots of the body, as well as listening to the voice clips I have, cropping them and putting them into a good order. I also added a piano track in the background as I thought the film sounded a little awkward left silent. I was careful to edit the voice clips, visual footage and music together with good timing compared to each other. Unfortunately, I have limited space on my laptop, so could not create a very long video, however I think it is long enough to give an example of what the final film will be. I will most likely edit the final one on Adobe Premiere, as it has many more advanced features and will handle the space issue better. However, I am really happy with this initial edit. I think the footage, music and voice clips work well together to create mood and evoke interest. In saying this, I will experiment with some closer-range shots, perhaps using a zoom or crop tool to get closer to the body, increasing the ambiguity and bringing more attention to the skin detail. 

A Wall of Skin

After having the idea of making the walls of my installation out of 'skin', I began to test ways of displaying my photographs on different materials. I bought some fake skin, skin-coloured tights, skin-coloured cotton fabric and white cotton fabric. I bought iron-on transfers of some of my images and set to work. Ideally, I wanted the image to transfer successfully onto the fake skin, so that I could print multiple images all over the walls of 'skin', but I was pretty sure it wouldn't work, as transfers are designed to stick to fabric and not shiny, smooth surfaces. As expected, it did not work. However, the heat from the iron began to melt the fake skin a little, allowing it to stretch and morph, which might be an interesting technique for me to use. I also tried the transfers on the cotton fabrics and the nylon tights - it worked on the tights, however when the tights began to stretch and move, the image began to peel off. The most successful prints, as expected, were the cotton fabrics. I think the skin-coloured one is most effective for looking like skin. 

Next, I need to try to make a 'skin' wall. First, I need to find a paint that will adhere to the fake skin, as the sheets are a cream colour, but I would like them to look more skin-like. The paint will need to still allow movement without cracking. Then, I need to try to stick the sheets together - I am planning to experiment with staples, giving a surgical effect, and glue. I would like to incorporate sections where the 'skin' is more transparent, so for this I may use  material from the tights. I will also incorporate my transfer prints. Lastly, I would like to try to create scars or textures on top of the skin with liquid latex. 

Following on from my printing of photographs onto various fabrics, I tried connecting them all to make a 'wall'. Using staples, because I like the surgical effect they add, I stuck together sheets of fake skin, skin-coloured cotton, tights, and the image transfers I had printed. My first comment was the fact that all of the sheets of fake skin were white - I would rather they were of various shades of skin colours (see edited photo below). My second comment was that these sheets are too flat and square - I want to try tearing them, melting them, stretching and folding them, to see what differences it makes. I also want to try creating texture and scars on the surface using liquid latex, and fake sweat using PVA glue to drip down and dry clear. My third comment was that there were not enough photographic images - this is because I only had a few transfers to test, however I would like to use many more images in a section this size. An area I particularly like is near the top right, where a section of nylon tights is stretched across a hole, giving a sheer sense of stretched skin. I would like to further play with this idea of stretched nylon. 

Taking a sheet of fake skin, I tried melting it with an iron, ripping it and folding it. The iron did not melt it much as it is quite a durable material, but it did morph and bend the edges slightly. I think ripping and folding the skin adds texture and makes it more interesting than simple sheets. 

I dripped PVA glue down the sheet so that it would dry clear and replicate sweat. I think it worked well but I need to add much more glue rather than just a few drops, and probably not on a white background as it doesn't show very clearly. I should also try letting the glue dry on a flat surface, rather than vertical, so that it creates just droplets of 'sweat'. 

I made a quick scar out of liquid latex. I mixed a bit of skin coloured foundation into it, which actually created some interesting swirls and patterns. Once it was dry I pushed and tore it a little with my fingers to make it a little more distorted. While I like the pattern the foundation made, I want to find a way to make the latex completely skin coloured, or maybe I will buy skin-coloured latex. I will also make various sizes and shapes of scars. 

With the remaining liquid latex I let a thin layer dry on top of a sheet and then tore holes in it with my fingers. I quite liked the aesthetic this created. I wonder if I could create a thicker layer, let it dry, tear holes and then peel it off from the sheet so that the latex stands alone as fake skin, as this will also effectively represent fragility.

Further artist research

Janine Antoni

Saddle, 2000

"Antoni’s works often focus on the body, as both a tool and a theme, although the end result is characterised precisely by the absence of a visible body. In Saddle she has used her own body as a casting mould under a wet cowhide. The transparent sculpture bears the imprint of this physical process. The work can be interpreted as demonstrating humiliation and oppression, but also as an expression of strength. This is Antoni’s approach to the problematic perception of women as the weaker sex."

http://afmuseet.no/en/samlingen/utvalgte-kunstnere/a/janine-antoni/saddle 

John Coplans 

Self-portraits, 1984-1994

Coplans' self-portrait photography beautifully captures the body at unconventional angles. The black and white effect enhances the contrast and shadow of the dips, grooves, bulges and textures. Some of the images are, at first, ambiguous as to what part of the body they come from - for example, the image of Coplans' very rectangular back with his fists above it. When the viewer thinks about it, he can figure out the position Coplan's is sitting in, but initially it seems abnormal. I particularly like how Coplans captures wrinkles, fat, creases, body hair, veins and more. It steers away from the typical imagery of perfect bodies with perfect skin, hair and camera angles. 

 

Yann Marussich 

Bleu Remix, 2007

Marussich's work relates perfectly to the creepy-but-intriguing effect I want to create in my project. He consumed a blue dye which would exit through his pores and via his bodily fluids when he became very hot. Sitting in a hot glass tank, he allowed himself to produce sweat, saliva and tears that appeared blue on the surface of his skin and streamed downwards. He blinked slowly and occasionally, but otherwise held a firm gaze that would make the viewer uncomfortable and unable to match it for long. The choice of colour "relates to wisdom, serenity and dreams. It is ever-present around us, and yet doesn’t exist inside our bodies." The performance also creates a sense of the supernatural. 

(Rochat, http://www.yannmarussich.ch/perfos.php?p=14) 

Installation artists:

Ilya Kabakov

The Man Who Flew Into Space From His Apartment, 1985

Kabakov's installation is inspiring because of the untidy, messy and chaotic effect which I would like to replicate in my work. I think it adds a story, making the viewer ponder the scene that took place before the preserved image in front of them. Although only an installation to be viewed and not physically interacted with, the use of levels, various materials, hanging features and light are all aspects that I find effective and would like to experiment with myself. 

Damian Ortega 

Skin, 2006

Ortega's use of leather to replicate skin is clearly interesting for my own work, and a material that it might be worth me playing with. The way the skin hangs, limp, from the ceiling adds a sense of morbidity, evoking discomfort, and is a technique I might like to copy to fix the walls of my installation in place. The multiple strips of 'skin', varying slightly in size and colour, are similar to the multiple sheets I am planning to use for my work. Ortega's art is very ambiguous and abstract, qualities that I am myself beginning to lean towards. 

 

Elena Fajt

This installation of hair by Elena Fajt is inspiring for my project because it surrounds it's audience, inviting them to feel curious to touch the hair, but simultaneously uncomfortable due to the unknown factor of where and who the hair has come from. The way the hair stretches from each side of the room, each strand slowly progressing at different angles, creates a sense of movement and distortion. I particularly like how the light on the floor shines through the strands on the right, seeming to thin them, making them look fragile and creating a harsh contrast with the thick density of the strands at the top left. Fajt's use of hair creates an effect that I would like to replicate with my use of 'skin' - it evokes intrigue but also discomfort. 

Idea development - materials

After speaking with my mentors, I decided to play around with the walls of my exhibition. Instead of them being solid, static walls, why not make the artwork the walls itself? I made a paper prototype by sticking together lots of printed images from my shoots and holding it up., as if it was hanging from the ceiling of the exhibition location. The thinness of it, the fragility and the way it gently swayed, were all features I found to be representative of the qualities of skin. However, I need to remove the white borders, to create a more seamless and continuous surface of skin. I also should try to incorporate materials - nylon, or silicone, rather than just paper. It would be interesting to see if I can actually print the images onto a more skin-like material. 

Following on from the idea of thin, skin-like walls, I have begun to research materials that I could use instead of paper. I have stumbled across synthetic fake skin sheets designed for tattoo practice. 

When I saw these, my imagination rocketed. Could I stick loads of them together in all shapes, sizes, colours and textures to create walls of 'skin'? Could I create fake scars, sweat, body hair and impressions of body parts on the material? Could I create holes, gaps, transclucent parts (possible out of skin-colour tights), stretches? Could I hang the 'skin' in quite a narrow passageway that forces my audience to push through the entrance, evoking disgust and discomfort? Could this entrance then lead to a larger 'room' of skin where my photography and film of the human body is being projected on to the walls via multiple mini projectors? Or is there a way of printing my images directly onto the 'skin'? Could I use an alternative fabric as well as the skin?

This has given me a lot more to experiment with. Despite my earlier apprehension, I think taking the project in the direction of skin rather than simply the body and social perceptions is more unique and effective compared to what has already been done. It still symbolises the messages I want to send, as all humans, animals, and even some objects, have a skin, both physical and metaphorical, that is a very basic aesthetic feature, vital for survival, and disguises insides, thoughts, emotions, and more. From research, I cannot see any artists who have made a room out of 'skin' before. I think it will have a far more grotesque and evocative effect on my audience if the installation appears to be made out of skin and requires touch and interaction, rather than simply walls with photographs stuck to them. 

I am having trouble figuring out how to incorporate both my film and my photographs. I don't know whether projecting my film onto printed images will work in terms of the film's visibility compared to a plain backdrop: this is something I need to test. I also do not know if the original audio I had planned to use would still be effective - again, perhaps something to experiment with. 

My Pechakucha - 20/02/18

Today I presented my PechaKucha, which is a series of images lasting for 20 seconds each, to my mentors Sharon and Sebastiane. I was apprehensive at first because the time limit for each image was making me feel pressured, and I struggled to squeeze the information I wanted to present into the time limit. However, I think the presentation went well. I spoke concisely and explained the main points of my work. I discussed inspiration, initial research, themes, test shoots and mock-ups. 

I was pleased to see my mentors were enthusiastic about my project. They reassured me that I am in a good place currently within my work timeline, and that I have some good ideas and a good starting point. They agreed that the basic idea is something that has been done numerous times before and that I need to take it in a new direction to make it unique and powerful. Sharon understood the emotional impact that I want to have on my audience - to make them feel slightly uncomfortable, but also very intrigued. She suggested some minor tweaks I could do to improve my original mock-up; for example, removing the borders around pictures, and removing the drawings altogether, in order to create one continuous sheet of skin. Sebastiane also suggested some physical aspects to consider:

• Why not make the 'walls' of my installation more fragile and transparent (qualities of skin)? 
• Do they need to be solid walls, or can they be more skin-like and material? 
• What about projecting my images instead of printing them? 
• Can I blur the line between installation and sculpture?
• What materials can I play with that might mimic skin - nylon, silicone?
• Can I zoom in closer to images and film footage? To avoid seeing any clothing that might break up the impression of a layer of skin?

Both mentors suggested artists for me to look at, such as John Coplans, and also suggested I research some more installation artists. They also really liked the idea of sweat, body hair and how it reacts to temperature, and were particularly intrigued by my photographs I showed them where it was ambiguous as to what body part the segment captured belonged. Finally, Sebastiane provided me with a better idea of how I would submit my piece of work, as it will not be simply a book or magazine. 

After discussing and beginning to develop my work in such detail, I have gone away with a lot of things to think about. As my next step, it is very important now that I begin to play around with physical ideas. Experimenting with materials, imagery, sound, visuals and lighting will prove very beneficial to the process of developing a highly effective and unique final outcome. Even if I create multiple examples that I do not use, I might be able to take small aspects from them to add to my work. 

Mock-up and peer feedback

I created this small mock-up example of a section of a wall from my final installation. I used image sizes of typical photographs, plus A5-A4 prints, as well as some sketches I have done, placed on top of folded and creased pieces of skin-coloured materials. I tried to identify the most striking parts of each images and make sure they were visible. I also moved the material to create texture and mimic the way skin folds and bends. 

I showed this prototype to my peers for some feedback. Their initial reaction was surprise and slight confusion; they found it hard to recognise what body parts the pictures were displaying. I was glad about this as I want to involve a lot of ambiguity and anonymity in my work. They suggested I add some colour to the sketches as they currently stand out quite a lot from the general colour scheme. They also suggested I use more varied fabrics - more colours, thicknesses, and textures, and place them near the images that they relate to: for example, a harsher, leathery textured material placed near an image of a palm of a hand or the underside of a foot. This will help to incorporate the use of touch, in relation to the visuals. I was particularly pleased when my peers spoke about social expectations: one of them mentioned how the image of a creased and folded stomach from a sat-down model (top right) made her feel uncomfortable, but she didn't know why: everyone's stomach looks like that when they are sitting, and yet there is such a social stigma attached to always having a perfectly flat stomach with no rolls. My peers were fascinated by how I had captured the way the body can move and contort, to stretch and bulge and sink, and yet it moves like this everyday without anyone noticing: which is another effect I definitely want to have on my audience, making them more mindful of such movements. 

I think creating this mock-up was definitely a valuable task. I was a little apprehensive to show my peers as I understand that the topic is quite an unusual one. However, it has helped me to visualise my final outcome better, and I now know what I need to change or tweak in order to have a stronger impact. I was pleased with the responses I received and I hope to amplify them further when the design is scaled much larger, combined with the moving film.

Photo-shoot #2 - 14/02/18

Today I completed my second photo/film-shoot. I arrived early as I was expecting my first model at 10:30am. I had already received a message from one of my models who couldn't make it - so I was down from 3 to 2. Initially, this stressed me out a lot, as she was a model with quite a unique aesthetic that none of my other model's had. I was very worried that I would lose some great photos and film, but I knew I had to continue the day professionally, review the imagery, and then solve the problem if there was one. However, on a positive note, today I had a photographer helping me; this meant I could work on two models simultaneously in different parts of the studio - one with my videographer and one with my photographer, and me overseeing both. This made for a more efficient production schedule and I trusted both of my collaboratives in their ability and understanding of my project. Both arrived on time and set up all their equipment. 

Unfortunately, my first model was running late, and with no way to contact me due to her phone not working, I made the decision to be a model myself, so as not to waste studio time or the time of my coworkers. This meant my photographer had a chance to practice and test our camera lenses and get used to the range of shots she would be taking. Soon, my model arrived, and so I greeted her and explained what we would be doing that morning. She was a professional life model, so it was important I behaved formally and as I would in industry. I provided a space for her to undress, and to begin with, she sat in her underwear, and my photographer, under my direction, began at her neck and shoulders and made her way down the arms and body, photographing with very close detail, and with my model removing her bra as needed to capture some more intimate shots. My photographer used a lease which allowed for some much closer-range shots, to strengthen the ambiguity of the images. It was a valuable opportunity for both myself and my photographer to work with a professional who was very confident and happy to be photographed in minimal or no clothing, as it taught us and gave us a chance to practice how to interact with a model and also provided us with some images we might not be able to gain from a less body-confident amateur. 

Once photography was finished, my second model had arrived. I asked my first model to make her way to the filming end of the studio and explained to her what Joe, my videographer, would be doing with her. After working with him twice before, I was confident that he knew what he was doing. I discretely checked that he was comfortable working with the model being topless, for his own comfort and assurance, and then let him get to work. I went back and introduced my second model to my photographer, explained the project, and began directing the photo-shoot. I moved back and forth between photo and video, checking on both my models and coworkers and directing them to capture certain shots I desired. Soon, my second model moved to film as well, and my first model was finished for the day. We had already discussed payment, and she wrote a quick invoice for me. I paid her at a rate of £15 per hour, which I thought was very reasonable for a professional model. She asked that I send her some images and footage, and the date of the final exhibition for if she might like to visit, to which I agreed. I would love to see my models' reactions when the piece has all been put together. After she left, I returned to overseeing the filming of my second model. My videographer worked much quicker than in the first shoot, as he had learnt exactly how to position the lights to cast the perfect glow and shadows across the body. I was really pleased with the footage again. 

Once the day was finished, we packed up and I saved all the files to my hard drive, ready for post-production. I reviewed the imagery and spoke with my collaboratives about the possibility of another shoot, if I felt I still needed another model. Overall, I think the day was a success, despite losing a model. I think I remained calm and overcame the issue well, as well as the problem when my first model was late, even doing some modelling myself to make the most of the time we had and gain some extra imagery. I enjoyed this shoot more than the first one; having a photographer meant I could step back and simply direct the project, allowing someone else to use her talent and skill, which is much better than mine. Also, my videographer seemed more confident today, which was reassuring. I think we all worked well as a team, which I find highly motivating in a creative project, and I would love to work with them again in the future. 

Mentor meeting #2 - Rachel, 14/02/18

Today I met with a different tutor from my assigned mentor, in order to gain some new perspective and different suggestions. I met with Rachel, and explained my idea to her. After talking about how I do not want to take a very abstract route, I felt like Rachel understood where I was coming from, and instead of trying to change my ideas, she simply added layers to them. She was concerned that my project idea is not very unique and has been done before. I did agree with her on this, and so we worked out what I could add or focus on to give me an edge. While she liked my photos, particularly the ones which depicted movement (something which I will take care to achieve in future shoots), Rachel suggested I focus a lot of my effort on to the installation itself, and less on the imagery within it. By making it interactive and incorporating the sense of touch, it adds a new aspect to the project; unlike previous art pieces that celebrate the human form, this one will invite its audience to actually interact with it. Rachel suggested I could print my photographs on to textured paper - perhaps bumpy paper, to replicate goosebumps, or rough paper, to mimic dry skin. This will mean my viewers can physically touch and experience what they are seeing. Another possibility, inspired by my drawings on top of photographs, is the use of acetate layered over images, upon which I can draw, and then my audience can lift and move the acetate to view the original image and the distorted one. A final idea we discussed was the use of mirrors. Rachel liked my thought of making the audience an active participant within the project: by catching glimpses of themselves in reflections, they will technically become models too, displayed alongside all of the photographed models, reinforcing the idea of equality and unity. 

I felt like today's meeting was very successful. I was beginning to feel unenthusiastic and demotivated about my project, but from discussing it and creating new ideas to experiment with, I now feel more excited again. I think it was a valuable decision to see a new tutor, as it provided me with alternate views and food for thought. 

Displaying my work

I spoke with Simon Griggs about the Flexhibition walls available for me to use in the HC building. I described the shape I wanted to create and we spoke about health and safety restrictions, and the brackets that would be needed to fix the walls in place. After contacting some further people, Simon assured me that the space I want to create would be fine 
(far left). We also discussed how I would fix my work to the walls, and I decided that blue tack or sticky pads would be ideal so as not to ruin the surface of the walls with pins. 

Having spoken to Martin Donnelly, an ICT technician at Solent about the use of a TV screen as part of my installation, I am now considering the idea of a projector. The televisions available for me to use range from 42-52 inch flatscreens, which, while they would provide a large, high definition display for my film, I worry they might be a little too modern for the theme of my work: the focus of my project is to strip everything down to it's bare bones and revert to simplicity. Therefore, I think the use of a projector may add a more vintage, aged effect to the visuals of the film. One issue I will have to overcome is the fact that my audience may block the projection and cast shadows if they step in front of the projector. To combat this, Martin said it would be possible to place the projector higher up - failing this, I will section off an area that my audience cannot walk through, and place the projector on a small table. 
However, as a large focus for my work is texture, I fear that a projector may lose some of the high definition detail in the skin and bodies that the film camera will capture. A HD television would be much better at displaying every bump in the skin, every hair and blemish. To avoid the problem of the television seeming too modern, I could use fabrics to obscure and disguise the device, so that it doesn't stand out so much as a very obviously modern television. 

Photo-shoot #1 08/02/18

Thursday was my first photo-shoot for my project. I arrived at 9:30am to set up the studio for my model to arrive at 10am. I tested the lighting and backgrounds and decided that working with a black backdrop would be most effective for creating a dark background in my images, as opposed to using the infinity cove walls. This also means I can work more efficiently for my next shoot: my videographer can capture the film footage of one model while I photograph another, for example. On this occasion, I completed the photography myself, as my photographer could not make it. I felt okay doing this, as I have learnt a lot about photography over the last two years at university, and I have also recently attended workshops to brush up my skills. As the photography I need is quite simply, I felt confident in my abilities to achieve what I wanted. 

My model arrived at 10am and I explained to her what the morning would consist of. I provided a private area for her to get changed and then we began the photography. I refrained from body make-up application as my whole project is about natural appearances - I want to capture every blemish, fine line, hair follicle, pigment and so on. I made sure she felt comfortable in what she was wearing, the poses I asked her to hold and the intimacy of the images I was capturing. I used a computer screen to display the images as they were taken, so that she could see them for herself. I only used one light in order to cast shadow and create contrast across the model's body. I used a macro lens to capture the texture of the skin and all of the fine lines in detail. I asked my model to bend, stretch and tense her body to contort and morph it, so that I could capture photos that are representative of the stranger and less acknowledged every-day body movements and positions. 

After the photography was finished, my model moved over to the infinity cove to begin working with my videographer. He had set up various continuous lights as well as his camera, and the model sat on a stool, as this allowed her to pose much better than when standing. The first filming session took a while as Joe, my videographer, got to grips with the lighting changes and the camera and lenses. He is a highly skilled artist and understands how each project requires different studio and equipment set-ups; he also knew exactly what I want to capture for my project and was good at directing the model to pose exactly how he needed her to. I oversaw and gave general direction throughout the filming, to make sure we got the particular shots I want. The more Joe worked, the quicker he got at tweaking the set-up and capturing the shots, and I was really happy with the footage at the end.

Soon my second model arrived and we set about repeating the same procedure all over again. This model was equally confident and happy to cooperate with everything I required for my project. 

My second shoot will take place on Wednesday, and will involve three models. Now that Joe has practised and knows exactly what to do, he will be much faster at working. Also, my photographer will be helping out, so the filming and photography can take place at the same time on different models at different ends of the studio, with myself overseeing and directing them both. I am confident that both of my collaboratives have the skills and understanding of the project required to capture what I need. As I begin to edit and print the images, it is likely that I will use some of them more than once, with different crops, so that some photos will be very close-up and appear ambiguous as to what part of the body they belong to, really displaying the textures and details of the image. 

Opacity and skin

The term 'opacity' not only refers to something's transparency, but also to the quality of something being obscure in meaning. 

Both can be applied to skin: firstly, skin is translucent; a light shone through a hand can prove this as it results in a warm, peachy-red glow on the other side. 

Furthermore, while we know it's biological function, there are numerous other ways to push the concept of skin, making it's 'meaning' more obscure:

• What can it be used for? 
• How can it create or distort something? 
• How does it change with age, temperature, sensitivity, pain, fear, comfort? 
• How does it differ between species? 
• Is skin simply an organ which surrounds an entire body, or is it a tool, a weapon, an attraction, a saviour, a disguise? 

Taking the idea of skin further, the remnants of it can be considered. Dust, which is made up of dead skin cells, can obscure and disguise things it falls upon. Forming a thin layer across objects, it creates a translucent - or if thick enough, opaque - sheet, hiding what is underneath. The thought of not only considering humans and skin as they are in the current moment, but also the aftermath, i.e. dust, is something I may play around with in my project, perhaps through use of fabrics.

Close-up photos of the surface of skin: 

Fine lines, hair, dry skin, cuticles, scars, texture

Taken on iPhone 6

Installation or exhibition?

From research, it is my understanding that an exhibition is a much more distant, separated and individual display of art. Exhibitions can present numerous entirely solitary pieces of work at the same time - for example, a number of different paintings by the same artist. An exhibition can even display one or more sculptures or installations at once:

"Such expositions may present pictures, drawings, video, sound, installation, performance, interactive art, new media art or sculptures by individual artists, groups of artists or collections of a specific form of art."

https://en.wikipedia.org/wiki/Art_exhibition

An installation, however, seems to be a much more holistic, unified and interactive experience: it is likely to fill a large space and it's audience must fully engage with, whether through touch, walking through it, watching it, etc.:

"Installation artworks often occupy an entire room or gallery space that the spectator has to walk through in order to engage fully with the work of art... What makes installation art different from sculpture or other traditional art forms is that it is a complete unified experience, rather than a display of separate, individual artworks. The focus on how the viewer experiences the work and the desire to provide an intense experience for them is a dominant theme in installation art."

http://www.tate.org.uk/art/art-terms/i/installation-art

Interestingly, the meaning of an installation appears to have evolved a lot over the past 50 or so years, to the point where almost anything, and thus in fact nothing, can be considered an installation: 

"Almost any arrangement of objects in a given space can now be referred to as installation art, from a conventional display of paintings to a few well-placed sculptures in a garden. It has become the catch-all description that draws attention to its staging, and as a result it’s almost totally meaningless."

 "A desire to heighten the viewer’s awareness of how objects are positioned (installed) in a space, and of our response to that arrangement... the whole situation in its totality claims to be the work of art."

"One of the dominant themes of installation art since it emerged in the 1960s: the desire to provide an intense experience for the viewer." 

http://www.tate.org.uk/context-comment/articles/it-installation-art 

Despite the concept of the term 'installation' being largely overused and perhaps now meaningless, it is still a form of art that I would like to create for my project. The themes of emotion, interaction and full engagement are ones that I think would enhance my work and the impact it has on viewers. As opposed to simply viewing framed photographs or watching a film projected on a wall, I want my audience to walk through a room or corridor completely covered and surrounding them in imagery, materials, sound, film, light, shadow, etc. I want them to become fully engrossed and thoughtful of what they are intensely experiencing.