If big is better, the Coachella Valley Music and Arts Festival could be its best ever this year.

The festival producers have added 20 acres to the festival grounds in Indio, so art curator Paul Clemente is increasing the size of the art installations that give Coachella its vibe.

“We definitely have some epic works this year that I think are going to blow people away,” Clemente said in a recent interview near the festival grounds. “The site is changing more in 2017 than it ever has in the history of the show. We’re adding 20 acres. We’ve known that was coming for a few years, so we have gradually been increasing the scale of these pieces. The Katrina Chairs last year was our biggest piece we had ever done and now this year, three out of four of the pieces are bigger than that.”

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The four major installation pieces at Coachella, debuting next Friday and on display both festival weekends, are:

“Crown Ether,” a community on columns rising to the sky, by Olalekan Jeyifous of Brooklyn, exploring “the relationship of the terrestrial to the sublime”;

a community on columns rising to the sky, by Olalekan Jeyifous of Brooklyn, exploring “the relationship of the terrestrial to the sublime”; “Is This What Brings Things Into Focus,” a "herd" of sculptures with “vaguely mammalian forms,” by Joanne Tatham and Tom O'Sullivan of Glasgow, Scottland’

a "herd" of sculptures with “vaguely mammalian forms,” by Joanne Tatham and Tom O'Sullivan of Glasgow, Scottland’ “Lamp Beside the Golden Door,” a mirrored tower with the uppermost curve pointing south, by Gustavo Prado of Brooklyn, who immigrated from Brazil six years ago;

a mirrored tower with the uppermost curve pointing south, by Gustavo Prado of Brooklyn, who immigrated from Brazil six years ago; “Chiaozza Garden,” an installation by Chiaozza of immersive ecosystems, i.e., “wobbly” islands and a greenhouse full of imaginary plants. Chiaozza (pronounced like “wowza”) is a Brooklyn-based collaborative of former architecture student Terri Chiao and fine artist Adam Frezza.

The Chiaozza Garden is a sprawling piece in which visitors can literally lose themselves. The others are massive works designed to affect viewers from 50 or 500 feet away, as opposed to most museum or gallery art pieces intended to be seen close up.

Clemente isn't always an advocate of “bigger is better,” but his sense of scale for curating Coachella was influenced by his first viewing of a legendary large art piece.

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“I always think of the first experience I had when I went to Florence, Italy, and I went to see Michaelangelo’s sculpture of ‘David,’” Clemente said. “Up until that point, I don’t think I had ever heard exactly how big it was and, you’re in the museum and you approach through this hallway, and I remember turning and seeing it for the first time and being confused by the scale of it. I didn’t know it was 17-feet tall. I thought it was human scale. I remember just being in shock from the scale of it and then realizing it was cut out of one piece of marble.”

When Clemente was scouting for art for this year’s Coachella, he was thinking in grand scales for the festival, which is like a rising metropolis within a desert city. Tatham and O'Sullivan’s “Is This What Brings Things Into Focus,” which rises six stories high, was added to the festival as a result of his big thinking.

“I saw a very small piece, a tabletop piece, that they had done at the Frieze Art Fair (in England) last summer, and reached out to their gallery in Glasgow,” Clemente said. “I instantly saw a piece that was easily scaleable and I envisioned that piece on the polo fields. And everything fell into place for that.”

Installation art always was envisioned by festival co-founder Paul Tollett as an integral component of the Coachella Valley Music and Arts Festival, and, “as the show grows, so does the art,” Tollett said in an interview with Clemente.

But some art pieces became so associated with Coachella in this decade, they became as iconic as the photos of Wayne Coyne of Flaming Lips crowd surfing in a plastic bubble at the 2004 Coachella. Poetic Kinetics created two of those iconic images with its giant astronaut known as “Escape Velocity” in 2014 and the caterpillar that turned into a butterfly, titled “Caterpillar’s Longing,” in 2015. The Los Angeles-based company didn’t have an installation in 2016 and they don’t have one in this year’s Coachella.

The installation art piece by Poetic Kinetics that became known as "the astronaut" in 2014 was one of the most popular at pieces at the Coachella Valley Music and Arts Festival.

“We had them for four years in a row and then we just got to a point where we wanted to get some fresh blood and some new ideas,” said Clemente. “We certainly looked at a bunch of options for them the last couple years and there’s a very good chance that we’ll wind up doing something with them again soon. They had a couple solid triples and then a homer and then a grand slam, and then, you know, they got to a point where we just want to wait until it’s the right time to do something again.”

Some installations remain annual staples. Robert Bose’s “Balloon Chain” of illuminated balloons zig-zagging through the sky is one and Do Lab, by the Los Angeles-based event producers of that name, is another. The latter features live music and interactive performers, many of whom traditionally cool off fans by spraying them with hoses.

“The Doo Lab is doing a big architectural structure for us again,” said Clemente. “Ultimately, they’re more of an official stage now than in the art program, but, just the fact that they are building a new structure for us every year adds a lot to the venue.”

Prado’s “Lamp Beside the Golden Door” might seem to make a political statement about immigration, much like the Date Farmers’ “Sneaking Into Coachella” or R&R Studios’ wall of artificial red flowers, “Besame Mucho,” at last year’s festival. But Tollett doesn’t like to suggest interpretations of the art.

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“It’s kind of bad for us to project anything from a piece of art,” he said. “It’s like, when you see it, each person needs to decide what it is.”

Clemente said he intentionally tried to keep the art “very light and fun."

“I’m a very political person and, like a lot of us, I think we’ve had to really kind of try and control and keep all of that emotion subdued in some ways since November,” he said. “I personally can create a little subversive meaning to anything. But, I think all of the stuff we have this year… it’s all very childlike and I think it will really set a great background to everyone having a blast at the show.”

Clemente is on the board of the valley-wide site-specific art exhibition, Desert X, and Tollett is a major donor in support of it. Tollett encouraged Desert X founder Susan Davis to start Desert X just after the launch of Modernism Week and to continue it through the run of Coachella and the Stagecoach country music festival, ending April 30.

Desert X has brought international attention to the Coachella Valley art scene and in some ways heightens interest in the site-specific art Coachella has showcased for years. Tollett calls Desert X “a good companion piece” to Coachella.

But Clemente said it didn’t influence his curation of Coachella's art.

“For me, my main concern is the space – how that work is going to occupy the space and how it’s going to feel in that space,” said Clemente. “From there, you’re getting into the specifics of what it’s going to look like or the orientation or how the colors are going to complement the sky or the grass or these kinds of things.

"Creatively for me, I feel like, in all of the things I’ve done, I’ve had the best results really operating in a vacuum and not really worrying about what other people are doing. If you’re trying to design something and you’re starting with images from every other festival from that year and what they did or didn’t do, inadvertently, by default, you’re going to be building on that in some way.”