In 2016, Haiiileen premiered Acid Trees: Study of Sound & Movement, a groundbreaking haiiileen acid trees performance exploring the relationship between sound, light, and physical transformation. The immersive installation combined projection mapping, experimental soundscapes, and improvised choreography to create a multi-sensory environment where audience and performer dissolved into a shared synesthetic ritual.
- Title: Acid Trees: Study of Sound & Movement
- Artist: Haiiileen
- Medium: Performance art installation — sound, light, movement, mixed media staging
- Year: 2016
- Dimensions: Site-specific (variable, immersive environment)
- Edition: 1/1 (performance & documentation)
Description
Acid Trees: Study of Sound & Movement (2016) was a performance-based installation by Haiiileen exploring the intersection of light, rhythm, and physical transformation. The work combined projection mapping, experimental soundscapes, and choreographed improvisation to create a hypnotic multi-sensory environment.
Audiences were immersed in a staged world of “acid trees” — abstract environments activated by light, sound, and body. The performance blurred boundaries between ritual, nightlife, and contemporary art, inviting participants into a synesthetic space of reflection and release.
Conceptual Framework
The piece represents Haiiileen’s exploration of movement as a synesthetic language. By linking light frequencies with bodily motion, the installation acted as both a scientific and spiritual inquiry.
“Acid” served as metaphor for transformation: a dissolution of boundaries between sound and body, audience and performer, environment and participant. Acid Trees is also a precursor to later immersive works (LightScapes, Rainbow Oasiiis), where Haiiileen expanded her vocabulary of chromatic environments into large-scale public installations.
Archival Significance
- Marks an early landmark performance in Haiiileen’s career, bridging fashion-performance into immersive art.
- First major exploration of sound + light + movement as interdependent forces.
- Foreshadows her later large-scale immersive practice (LightScapes 2018–2019, Rainbow Castle 2025).
- Provides critical documentation of Haiiileen’s shift from staged environments to fully participatory sensory installations.
Archival ID: HAI-2016-ATS-01
