Intro

The artwork is influenced by social simulation video games. As @waitingtosign rightly suggests in his E58 podcast when classifying 'Carousel up' as a ‘fun, interactive Sims-like project’.

I thought it appropriate to briefly explain the script of the art piece for those who want to know a little more about the work.

Tickets to enter the carousel

The piece begins with a ticket that appears on the front. In it, we see a couple of icons, or sometimes an icon of a single person, or a trio. Below, a text that invites you to accept or decline that couple. If accepted, the ticket is flagged, opening the possibility for those kinds of couples to start appearing, one after the other, in a circular space that spins like a carousel. A space that is constantly adjusted and calibrated, zooming in or out with a lens that focuses on this 'culture broth' of micro-people.

One after another, they appear in micro variations, and depending on their appearance and color, possible children and/or constructions will be added.

Then other different tickets will continue to appear for the user to accept or deny.

Some types of tickets

Keep in mind that the tickets are a representation of possible couple models. Let's see examples of the first iterations.

Couple of icons formed by a sky blue man and a pink woman: They enable orthodox and binary couples with -possibly- a large number of children and some other buildings. Spatial distribution preference: all close. See example below of ‘Carousel up’ #36.

Pink lonely woman: She enables lonely women with low chance of children and possibility of standard constructions. Spatial distribution preference: widely spaced. See example below of ‘Carousel up’ #27.

Sky blue lonely man: He enables lonely men, with little chance of having children and quite a lot of possibility of building. Spatial distribution preference: widely spaced. See example below of ‘Carousel up’ #22.

Couple of icons formed by a pink woman and colorful man: They enable rather crazy couples, with -almost- zero possibility of children and possibility of standard construction. Spatial distribution preference: spaced. See example below of ‘Carousel up’ #13.

Couple of icons formed by two sky blue men: They enable, rather, groups of friends, with -almost- zero possibility of children and some other construction. Spatial distribution preference: all close. See example below of ‘Carousel up’ #31.

Woman with a robot: They enable eclectic couples, with zero possibility of children and quite a few particular buildings. Spatial distribution preference: spaced. See example below of ‘Carousel up’ #8.

The combination of different enabled tickets results in a wide range of conceptual and aesthetic possibilities, properties that become more complex according to other variants that come into play, such as the shape and also the space of each micro-world, among others.

The farewell

In one way or another, the micro-world is populating, until reaching a point where the user has the possibility to let go of his project. Many times, a small sign can be seen appearing between micro-people saying "LET US GO, PLEASE!". Then, one last ticket, different from the others, appears. There it reads: “CLIC TO LET IT GO”. At that moment, by clicking, the micro-world comes off, and is lost in a kind of galaxy that begins to appear and twinkle. See example below of ‘Carousel up’ #23.