Light Forms
In deep antiquity, rhythms of the passage of light were marked by megalithic monuments or “pillars of light” across the globe. These structures inscribed the experience of time through a codification of the human relation to ancestral seasonal cycles, the cardinal, horizonal directions, and the vertical sky of celestial lights. Referencing these perennial traditions, these artworks introduce a new dimensionality into these cosmographies by replacing the prototypical calendrical technologies of stone with the perceptual medium of optico-geometric glass.
LIGHT-MOBILES
Light-Mobiles are optical instruments that tune intermediary rays and sympathetic resonances between mind, body, and environment. Using suspended glass elements, they create a kind of visual chord that reverberates in the light cone between the three-dimensional sculpture and the two-dimensional projected image, spatialising the fundamental photographic process of light mediated by the lens.
Confronted by technologies of control that seek to automate our sensibility, the work offers a mode of therapeutics through a play of mediation in which light is once again understood as that enigmatic signifier of consciousness—not subject to the program—but as that prior luminosity in which it first appears.
Fragments
‘Fragments’ are a body of works that reflect on the present as a time of disorientation. When we turn our lens to the contemporary, we are confronted by a scattering of light—a fragmentation that veils the future in a cloak of unknowability. But, as René Char asks, “how can we live without the unknown in front of us?” The act of becoming conscious consists not in the resolution of any fixity, but in an unknown, around which our symbols circumscribe. Gazing through this fractured lens—through the paradoxical play between orientation and disorientation; form and fragmentation—at the opening of the paradox, such that we might embrace the unknown in front of us.
LENSGRAMS and SPECTROGRAPHS
Perception is a photosensitivity. Our minds and bodies are overexposed to a world shaped by the mediated light of information. Our work in the darkroom explores how tonalities and hues of light impress themselves on the embodied mind. ‘Lensgrams’ are lens-only mediated photograms, whereas ‘Spectrographs’ are unique print editions that register the optical signatures cast by our sculptural forms—inscriptions exposed to the light of consciousness.