For this project, I explored the use of Gaussian Splatting as a way of bringing fragments of the natural world into an immersive spatial environment. Using the LiDAR scanner on my phone, I created 3D scans of elements found in nature, focusing primarily on details from the forest. These scans were then transformed into Gaussian Splat particle systems, preserving their delicate structures while allowing them to exist as living, dynamic forms within the visual composition.

This approach was closely connected to the character of Fiona Grond’s album. As someone with a deep connection to nature and to the forest landscapes she comes from, these organic elements became a quiet visual thread throughout the work. Since the album itself is intimate and deeply personal, I wanted the visual language to carry the same sense of closeness and presence.

The video shown here document the process of testing the scenography inside the planetarium dome. They illustrate how the Gaussian Splat environments were integrated into the immersive projection, allowing me to refine the spatial composition, scale, and technical setup until the visual dramaturgy responded naturally to the architecture of the dome.