53 5 MINUTES
How has your work in different disciplines influenced your work with lighting? The properties of fibre optic filaments do lend themselves to being easily crafted and manipulated using fashion and textile techniques. After working with woven polymers within costume design for so many years it seemed natural to elegantly illuminate the work with another textile based component.
Illuminating the sculptural pieces by introducing elements of fibre optic technology added a sense of drama and ambience to the work, the collaboration of Jardin Blanc with dance choreographer Yolande Snaith really pushed my experience in previous disciplines into the field of lighting. Who has been your greatest influence? I have many, from the work of designers such as Issey Miyake and how they dramatically manipulate material to dance choreographers such as Akram Khan, Momix and Caroline Broadhead.
Where do you see the boundaries between contemporary art and lighting? My most experimental piece would be the Flight light. This particular design is intricately made up of twisted, arched shapes which are sculpturally assembled across fibre optic filaments. Through pushing textile and fashion techniques in such a sculptural way the work blurs the boundaries between art and INEX-ONLINE.COM
This is the preview edition of inex Magazine.