Claudia Moseley (b. 1984) and Edward Shuster (b. 1986) are a collaborative conceptual art duo. Their work encompasses sculpture, installation and suspended environments using optics, geometry, light and glass (screens, lenses, prisms) as meditative instruments that tune the ambience of a space in the context of contemporary mediation technologies.
The artists met on a tree-dwelling protest site in the Brecon Beacons, Wales, where they began their collaboration inhabiting a suspended treehouse. Living and working in London, they create temporary and permanent lightworks and sculptural installations for public spaces, private collections and international exhibition.
Claudia Moseley MRBS, Fine Art and Textiles (Goldsmiths University), MA Environmental Anthropology (Kent University), Foundation diploma Art & Design (Middlesex University).
Edward Shuster PhD FRSA MRBS, Doctor of Philosophy (‘The Pharmakology of Light-Time’, European Graduate School), Optics, Geometry and Architecture researcher (Farjam Scholarship, Prince's School), World Philosophies (SOAS), Esoteric Philosophies (Exeter University).
In the contemporary age mediation technologies coordinate and enframe the relations between individual and collective thinking and the cosmic environment. Ambient art seeks to create artworks as meditating instruments to tune the ambience or atmosphere of the psycho-physical life-world, interfacing between the individual and this surrounding environment. Working with spatial harmonics, the healing effects of light and the kinetic rhythms of the breath, which connect the body to the wider psycho-sphere, geometric frameworks are opened to allow an influx of solar chromatics and cosmic flows, generating an individuating poetics through these spectral potentialities.
Interfacing between people and their environment, ambient art works with resonances derived from meditative practice and diagrammatic thinking, encompassing cosmology, psycho-geography, architectonics and anthropology, along with the informational potentialities of natural and artificial light. The method explores the nature of consciousness and technological mediation, aiming to create openings for conscious experience in the context of its cosmo-technical enframing.
Deconstructing cinematic and photographic apparatus, the work dimensionalises the lens and screen, reflecting on the threshold of materiality, considered as the transparent limit-horizon. Looking towards the large-scale optics of telescopy and telematics to encompass the wider technocene, the work employs light to spectralise at this threshold, opening up the potentiality of the liberational interface in search of anthropological altarities. Here the nature of embodiment, mediation and consciousness is explored through active vision, asking the viewer to ‘suspend their belief’, and future relics, which consider the dimensions of human embodiment in the age of the crystallisation of light-time.
By whatever binds the world, by that it must be freed - Hevajra Tantra