Scott Pennington

Micro controllers animate a series of Ducks and bulbs over a two minute cycle

"Plaza" is an interactive installation included in "Light City Baltimore"2016 in Baltimore, MD made possible through funding provided by Baltimore Office of Promotion & the Arts. Plaza is a series of gate-like structures inspired by the architecture of carnival rides, old-school roadside signage, and the hypnotic and seductive energy of the Vegas-Style marquee. Adorned with blinking, chasing lights and colorful illuminated panels, the structures are arranged into a garden-like setting that suggests a sort of randomness, as if this temporary wonderland mysteriously appeared overnight. Plaza aims to function as a visual playground of architectural relics- one that invites viewers to stroll through and immerse themselves in colossal forms and pulsating light.

Carnival interior is an interactive installation creating a meditative 'sanctuary' that explores social interaction within a space utilizing a carnival aesthetic. The gallery space has been modified to create an entry point that would give visitors an immediate symmetrical view of the installation. A large, upholstered banquette is placed in each of the 4 corners that provides slightly reclined seating and keeps a viewers feet off of the floor in a manner similar to the seat of a carnival ride. A large "duck pond fountain" sits in the center of the room and contains wooden ducks that circulate around the pond. Large spinning wheels are mounted on 3 of the walls.

As a child I was fascinated by the machines of war, by the power and seeming grace of missiles and aircraft. These were my familiar toys writ large and potent, inspiring thoughts of adventure and heroism in my early life. All that comes after the arc of the plane, the plummet of its cargo, was invisible to me, obscured by the sheltering media and by sheer distance from those un-exceptional un-American places where the consequences of warfare are everyday reality.
In some ways, little has changed with maturity. I hear and see reports from distant lands: abstractions for an audience who does not really want to know; simplified sequences of events that are familiar in their outlines, devoid of brutal detail and confusing complication. It occurs to me that a great many Americans are rendered childlike in our relationship to military technologies- some by our trust in the judgment of authorities who assume responsibility for their use, others by our frustrated helplessness to stop them. In either case, our innocence of the war machines’ flesh and blood effects is preserved. The damage done we do not understand.

“The Serpent” is an installation designed originally for The Penn State Abington Gallery. The Fall 2017 show entitled “Integrated Carnival Energy Systems” is an experiment in creating multiple arduino controlled light systems that operate separately but work together to create the overall experience. At Penn State

A free standing light based installation that further explores the carnival aesthetic found in my work. The piece takes a series of differing components sifted from the variation of overlapping visual experiences found on a carnival midway and locks them together as a complete landscape of their own while still democratically allowing each unit to individually compete for the viewers attention and it's turn to bask them in a warm blanket of electric joy.