How can a light installation transform an ordinary streetlight into a place of connection, memory, and reflection? With Shadowing, the artist duo Chomko & Rosier reimagines the codes of digital surveillance, turning technology into a catalyst for human connection rather than control. In this interview, Jonathan Chomko reflects on the origins of the work, his vision of interactive public art, and how Shadowing encourages people to see the public spaces they share through a new lens.
Shadowing explores the relationship between people, technology, and public space. What was the initial idea or question that sparked the creation of the work?
Shadowing was inspired by the idea that we live in cities because we want to be close to other people. We started developing it in response to an open call from Bristol-based Watershed’s Playable City Award, as a way of augmenting the presence of people in the street, and reminding citizens of their shared spatial reality.
The installation transforms streetlights into places of memory by echoing the presence of previous passersby. What does this idea of shared memory and connection mean to you?
The only reason that time exists is so that everything doesn’t happen at once. Shadowing connects people across time with those who they share their public space with. At times I’ve spoken of Shadowing as a pool of memory, a spot that anyone can stop by and leave a gesture, and be greeted by a previous occupant of the space. I am also very drawn to public notice boards for the same reasons, a place where connection and expression can occur.
Shadowing references surveillance technologies while creating a playful and engaging public experience. How do you balance critical reflection with moments of curiosity and delight?
Shadowing makes visible the infrared camera view that increasingly pervades our cities. The advent of and pushback against the Flock camera system demonstrates the current sentiment around AI-enabled surveillance systems. I think where Shadowing avoids similar pushback is that it reveals what it sees. I like to say that Shadowing regurgitates the images it captures – no data is captured, the images are replayed for play.
Public space is constantly evolving. How does Shadowing change depending on the site, the people, or the surrounding urban environment?
Shadowing is designed to evolve with the seasons – the new permanent version turns on at different times depending on the sunset time, and turns off at sunrise. The system allows for a range of participation modes; a big group can gather around the lamp and take turns recording shapes. At quieter moments, the lamp re-plays its recent recordings, inviting curiosity and participation.
As artists working at the intersection of art, technology, and public space, what role do you believe interactive public art can play in shaping more meaningful cities?
We hope that interactive art can help people feel connected to the people with which they share their cities, and through that connection feel a sense of belonging and civic potential.
What do you hope people remember or feel after experiencing Shadowing?
Our hope is that the installation provides a moment of surprise, wonder and play; that it brings people into their bodies and in connection with each other.
Beyond its playful and immersive nature, Shadowing offers a thoughtful reflection on how we inhabit our cities. By revealing the traces left by previous passersby rather than recording them, the installation transforms a technology often associated with surveillance into a space for collective memory, curiosity, and dialogue. It invites us to slow down, look more closely, and reconnect, even briefly, with the people who share our public spaces.
