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An mosaic installation of varied and differing materials either framed on a wall or as one, or many, stand alone "sculptures". The work will be created with a wide variety of materials from canvas, wood, steel, sheet metal, tin foil, plastic, plexi-glass, carpet, granite, monk cloth with yarn, cloth, cardboard, and found objects to create an abstract mosaic composition, or possibly, a semi-representational mosaic.
The varied material will have contact microphones attached to them so when a participant touch the material it give a direct response of sound corresponding the the material type. Giving the participant a more sensory experience to the work of not only vision/seeing but touch and sound. How the participant touch the work, intensity, force, and direction, will alter the sound created due to the nature of contact (piezo) microphone.
Alternative modes of sound making will be explored in the R&D phase of the project including the use of pre-recorded sound with touch sensors on the materials and the use of a theremin.

REVISED PROPOSAL:
After a number of failed attempts on the adjacent proposal "A tactile participation" with the ability to achieve dynamic and interesting sound corresponding with a component of touch, I've decided to change focus and create something with more personal themes while keeping a component of touch and audience participation.

Over the past two years aviation has become a challenging factor in my life.
It has been a source of frustration and disappointment on many levels. The waste, excess, redundancies, privilege, and environmental impact of flying are a few amongst these many frustrations.

The total carbon impact of a single flight is so high that avoiding just one trip can be equivalent to going (gasoline) car-free for a year. *

To add to this recreational aviation and the airline industry have many wasteful practices the general public is likely unaware of; such as, the over 1000 page Canada Flight Supplement that expires every three months and is a requirement for recreations flying.

I'm proposing to make a participatory installation to highlight some of the wasteful excessive practices.

*https://davidsuzuki.org/living-green/air-travel-climate-change/#:~:text=Climate%20aviation%
20facts&text=It%20is%20responsible%
20for%2012,more%20than%20the%
20construction%20industry!

Previous installation work from December 2021
Acrylic painting on raw canvas 72'' x 72'' hung on string from the back wall
5 masonite boards 18'' x 18'' cut and painting with matte acrylic paint hung from the ceiling on fishing line

A space orientated installation allowing the audience to walk and move between the suspended parts changing how the painting (and overall installation) is viewed, interpreted, and interacted with.
Questioning semiotics and positions of reading into painting.

Installation from early 2021:
An installed shelf with overhead lighting on black backdrop. Shelf contains flowers in white vase, white porcelain angel figurine, white candle holders with red candles, framed painting of the shelf while candles were freshly light and flowers were alive.

Left photo is the full installation
Right photo is a close up detail of the painting in the centre of the installation

Test #1: 18''x14'' wood frame collage of maps, transparencies, string, painted canvas, tin foil, and cardboard

Inspirations : Doug Coupland - Gumhead self portrait sculpture from 2014

A 7-foot tall Gumhead sculpture self-portrait of Coupland himself. The Gallery describes the piece as “a gum-based, crowd-sourced, publically interactive, social-sculpture self-portrait.”

The public was encourage to stick their chewing gum onto the outdoor sculpture and over the proceeding month it continually changed into something different.

Artist Interview with Jordan Blackburn on November 4th, 2022

Jordan Blackburn is an printmaker, muralist, installation artist, and poet based in Trois-Rivières , Quebec with a BFA from NSCAD and an MFA from the University of Waterloo. Informed by experience and practice-based research, his work considers complex relationships between human and Nature and uses visual storytelling to navigate cultural aspects of a worsening ecological crisis. His work has been shown both nationally and internationally and he has received a number of awards including the Joseph-Armand Bombardier Canada Graduate Scholarship, YEG Canvas Award, and was the regional winner of BMO’s 1st Art!.

Artist for a Day Mural
Screen printed and cut out original artwork pasted with Methyl Cellulose Adhesive to an interior wall of NADCAD
A public engagement project where spectators were encouraged to pick and paste onto the wall as they wished.

Toile #1: custom designed, printed, and installed wallpaper in the front corridor of a home

Mural examples by Jordan Blackburn:

basic sketch #2:
Collage of aviation maps and aerodrome information sheets, white tape, acrylic paint, and paper stickers
A large wall collaged of maps and with "Mayday" painted on top, landing strip marker with white tape on the floor creating a perspective effect into the wall.
Participation through sticking sticks of black airplane onto the collaged wall. Eventually the wall would be covered in black. A representation of the excessive emission from the aviation industry.

Further research being conducted to attempt a scaled representation of the airplane stickers to the size of the wall collage to achieve a visual of the environmental damage from one transatlantic (or cross Canada) flight

Further inspiration:

Inspiration #2: Imran Qureshi (b. 1972) is a Pakistani artist known for his beautifully crafted paintings, which portray a delicate repetition of decorative motifs and figurative elements, as well as his large site-specific works around the world

Specifically and installation of called "And they still seek traces of blood" (2013–14, lithoprints on paper) where there are mounds of crumpled paper that look like bloody rags in which the placement forced views walk on top of and into the exhibition hall trampling and interacting with massive piles of what seem link the remnants of violence. Even the sound of the paper being trampled adds to the sense of violence in the exhibition.

Final Installation: 28 feet x 16 feet wall installation made of Canadian airport diagrams with red acrylic paint, airplane cut outs made of Canadian aviation maps with black acrylic paint, and run way stripes made of white tape.
The scale of the airplane cut outs are based on the increase in carbon emissions for a single person round trip between a flight from Vancouver-Toronto and a flight from Vancouver-London
The participation aspect of the mural is to have the audience paste the airplane cut outs onto the wall installations.