But while these rooms may be fun for a quick selfie, their poor quality makes them appear as handmade backdrops in an elementary school play rather than a professional multimillion-dollar production. Scattered throughout the gallery, the exhibition features several real-world recreations of his paintings, such as a full-size bedroom organized and painted to mimic his famous “Bedroom in Arles” (1888). Unfortunately, the opening rooms’ impressive sights end there. In this instance, Fever provides an interesting visual interpretation of Van Gogh’s unique approach to texture and movement in real space. An example of these involves various self-portraits of the artist being mapped and projected onto a large 3D model of his face. Among the various attractions in these opening halls, by far the most impressive are the small projections of Van Gogh’s works on 3D structures.
Upon entering, visitors first travel through a series of rooms providing context about Van Gogh’s life and inspirations. Overall, “Van Gogh: The Immersive Experience” has very little depth, only scratching at the bare surface of who Vincent Van Gogh was as a person and as an artist. But as I left the exhibition’s main presentation, I could safely say that it did not live up to my own, nor probably any other art lover’s, expectations. “Van Gogh: The Immersive Experience” is currently on show at Boston’s Strand Theater.ĭespite its reportedly misleading marketing and poor organization, as someone deeply involved and interested in i mpressionist art history, I was excited to visit the exhibition regardless and learn more about Van Gogh from a historical and artistic perspective. 6, event company Fever finally opened the doors to its newest exhibition. After multiple delays, complaints and a lengthy legal battle involving its organization’s deceptive name, on Oct.
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