REFLEXION – In Sync / Out of Sync

“Light allows me to embody imagination by projecting a mental image that due to its immaterial character cannot be displayed by any other material, since only light can give form to the intangible. In the interactive light and sound installation REFLEXION – In Sync / Out of Sync – two visitors are invited to sit close to each other surrounded by a light structure made of electroluminescent wires to pursue the synchronisation of their heartbeats, which are measured via finger pulse sensors to steer sound and light of the art work. When the frequencies of their heartbeats diverge, the installation responds in an Out of Sync state and the sound becomes dissonant; however, when they are close to synchronisation or fully synchronised, the installation reacts in an In of Sync state, with agreeable and non-dissonant sound in the immersive soundscape.

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Back to live
LIGHT INTERSECTIONS II extracts and abstracts the perspective lines of a decayed architectural structure and reinserts them back into the building as rays of light. Light beams puncture the walls, ceiling, and windows across the two levels, and mutate into perfectly aligned, stringent lines in the real space. The idea is based on an abstracted two-point perspective that pierces the exterior and interior walls of the building, emphasising its dilapidated state. The site-specific artwork transforms this 19th century building in Sydney fully and brings it back to new life.

Read full article in ArtLight 2022_1 (February)

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Leaves and plants become image media

For her project ‘The Pigment Change’, Almudena Romero (*1986, Madrid/SP) exposes plants to precisely defined amounts of light and uses the natural pigment changes to create images on leaves.
Most plants have a variety of pigments that reflect light and absorb energy from a wide range of different wavelengths. Photoperiodicity, photobleaching, photosynthesis and selective growth are the biological processes Romero uses to print photos on leaves. Plants produce chlorophyll (green), carotenoids (yellow) and anthocyanins (red, purple, blue) to survive. The artist for example projects negatives from her family archive directly onto beds of cress.

Read full article in ArtLight 2022_1 (February)

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The transcendent colour of light | 2020

Mads Christensen (*1971 in Denmark, lives in Los Angeles/USA) in his works explores the immaterial qualities of light. His process creates dynamic artworks that generate a resonance in space based on dimensionality, composition, and diffusion. His works seemingly expand and contract, and escape form without actually moving. Trained as an electrical engineer, Christensen’s work consists of a confluence of computer science with light, colour, geometry, and movement.

Read full article in ArtLight 2021_1 (February)

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The Light and the Oeuvre – The Oeuvre and the Light

The light penetrates the museum, soft or bold, sometimes even sharp, rays like blades depending on the mood of the sun.

There it shaves the walls, cutting it into new geometrical surfaces, remodelling the architecture, which welcomes it with its linear slits and curved dome. Its long walls themselves replicate it in a play of subtly moving reflections, then it plays on the floor or bends over and stretches into the corners of the walls.

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ma meta [Marl] _ KlangPlastik | 2020
The new KlangPlastik (this term was coined by Johannes S. Sistermanns) ‘ma meta [Marl]’ was created especially for the Skulpturenmuseum Glaskasten Marl. In the multi-media space, sound, colour, video, space, photo, drawing, foil, five individual perspectives (including graphic notation / Australian paper tree bark / resonating wall / stretched foil), which are loosened and seamlessly positioned in relation to each other. Decoupling creates space: that between spaces [ma]: unpredictable, unrepeatable, unfinishable: only the perceiver can qualify, experience all this. At the same time: space is membrane: space is resonance. Sound sources are almost exclusively decoupled from traditional sound projection in loudspeakers. Sounds are transmitted directly to foil, wall, wood, iron by means of sensors and exciters.

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Liquid Light | 2020

The basis of these images is a photo of a light source or light track:
Illuminated facades, traffic at night, lamps, subway corridors…
Special colour filters and inversions create images like the ones you can see here.
Depending on how often certain filters are applied, the same basic image can have completely different results, which however are always one and the same thing: coloured light.
The light gives the pictures their structure, their form, determines the course of their lines and edges… thus is the basis of the whole, both literally and metaphorically.

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Spatial Disorientation | 2019

For the exhibition „Deflection“ at the Brno House of Arts, Pavel Korbička (*1972 in Brno/CZ) designed monumental, site-specific light installations that form a counterpoint to the dominant architectural symmetry of this exceptional space. The exhibition consisted of walk-in installations made out of polycarbonate. These sculptures, interlinked by their meaning, were illuminated by coloured neon light.

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Something comes from Nothing | 2019

Hitoshi Kuriyama (*1979 Hyogo, Japan) has established a hypothesis which he presents by artistic means: 0 = 1. By doing so, he creates sculptures that remind us of explosions or trigger associations with the Big Bang. Everything flies apart. But Kuriyama combines scientific methods with physical phenomena such as light and vacuum, sound and movement to prove his thesis. He creates a fragile structure of light and non-light characterized by a transcendental lightness in the air. Some tubes shine; others are broken and robbed of their light.

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The glory of the light – A staging | 2019

The architecture of Muze’umL (Roeselare, B) inspired Monique Thomaes to create a setting in which space, light and the viewer played a decisive role. Thomaes’ neo-minimalist works in steel, wood and glass, which she realized during her time in Berlin (1988-2002), leaned against the wall or lay on the floor. In the 90s, these sculptures developed into site-specific installations. – The space is reflected, changing lighting conditions and the movements of the visitors create a visual dynamic. Through an arrangement of glass plates leaning against the wall, the space dissolves into a play of reflections: “inside” invites “outside” and vice versa.

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