The Unbearable Lightness of Art
By Robert Pascoe
Monday 19th October 2009
Monday 19th October 2009
Being a student of physics I feel a strong connection with light art, particularly while studying at a university as invested in photonics as the University of St. Andrews. The concept of a piece of art relying on light for more than just uniform illumination is certainly not a new one, with precursors such as medieval stained glass and, debatably, the aesthetics of architecture in general. But recent times have seen great developments both in the technology and in the art. The standard was set by 50’s and 60’s works such as Dan Flavin’s fluorescent sculptures and Nicolas Schöffer’s kinetic art, both made possible by new or more affordable technology.
Light art has recently come back to the public attention with high profile installation pieces such as Olafur Eliasson’s Weather Project in the Tate Modern and James Turrell’s skyspaces. However, I’m particularly interested in the cutting edge of science being exploited artistically. Many great achievements of the technological world never see the light of day because their lengthy explanations are unappealing to most. Art can be a great medium to showcase such achievements.
An American named Bill Parker revolutionised the design of the plasma lamp in 1971 with work he did at MIT. Three years later he put on 2 exhibitions of the aesthetic potential for the technology, for which public enthusiasm was so great that he developed the idea into the ‘Plasma Ball’ toy that we know today. Other pioneers such as UK based light artist Chris Levine, have made use of laser and holographic technologies. In 2004 Levine famously took a hologram of HRH Queen Elizabeth II, bringing the ‘royal portrait’ into the 21st century.
Another light artist, Austine Comarow uses a property of light known as polarisation to bring motion to her collages. Her pieces seamlessly cycle in colour or even morph between various separate images.
It pleases me greatly that Light art, along with other ‘Hi-Tech’ art forms is acting to break the arts/science divide that so many perceive. Scientists from various backgrounds have taken the tools of their trade to art in recent years; experts in optics, computers programming, and (more concerningly) genetic engineering.
Perhaps in the future we won’t be so surprised to see mixes of the two disciplines.
In the words of Matisse; “The future of art is light”.
Light art has recently come back to the public attention with high profile installation pieces such as Olafur Eliasson’s Weather Project in the Tate Modern and James Turrell’s skyspaces. However, I’m particularly interested in the cutting edge of science being exploited artistically. Many great achievements of the technological world never see the light of day because their lengthy explanations are unappealing to most. Art can be a great medium to showcase such achievements.
An American named Bill Parker revolutionised the design of the plasma lamp in 1971 with work he did at MIT. Three years later he put on 2 exhibitions of the aesthetic potential for the technology, for which public enthusiasm was so great that he developed the idea into the ‘Plasma Ball’ toy that we know today. Other pioneers such as UK based light artist Chris Levine, have made use of laser and holographic technologies. In 2004 Levine famously took a hologram of HRH Queen Elizabeth II, bringing the ‘royal portrait’ into the 21st century.
Another light artist, Austine Comarow uses a property of light known as polarisation to bring motion to her collages. Her pieces seamlessly cycle in colour or even morph between various separate images.
It pleases me greatly that Light art, along with other ‘Hi-Tech’ art forms is acting to break the arts/science divide that so many perceive. Scientists from various backgrounds have taken the tools of their trade to art in recent years; experts in optics, computers programming, and (more concerningly) genetic engineering.
Perhaps in the future we won’t be so surprised to see mixes of the two disciplines.
In the words of Matisse; “The future of art is light”.