The investigation into self and perspective continued with Jacqueline Hen’s Off Grid Series, which consists of a series of mirrors and lights designed to create the illusion of infinity. The size of a doorway, the piece serves as a gateway to another realm. Light, more so than any other sensual information, is essential to our construction of reality. Seeing is believing, as they say. But, what happens when the visual information you are receiving doesn’t quite compute? “When creating an artwork, I aspire to create a moment of irritation: a slight glitch to experience contingency. Through this, the habitual perception of space and reality might be questioned by the visitor,” noted Jacqueline. The experience changes depending where you are standing, so no two spectators are viewing the same piece of art. The next ehibit was Peacock by Chila Singh Burman, a vibrantly colorful installation set against a black background. John Bullock of The Light Review called it “a glorious touchstone of visual exuberance.” The previous two exhibits played on my perception of reality. This one awed me and filled me with an appreciation of beauty. Burman said, “My peacock piece explores the birds’ symbolism of re-growth, rejuvenation, beauty, and love.” And, as the peacock is native to the Indian subcontinent, the piece serves as a reference to the Indian heritage that she holds so dear.
Zero Framing Projector & Moto-Zero 80 by Forma Lighting
The final piece we viewed was Dr. Kate McMillan’s The Lost Girl, an immersive film that takes its title from the DH Lawrence novel of the same name. In the novel, Alvina leaves her safe world behind as she sets off to Naples with her lover. In McMillan’s installation, there is no safe world to speak of. The cavedwelling titular character is alone on a beach in an apparent dystopian future and must construct language and meaning from what she finds around her. The sand and washed-up debris in the room made me feel as if I was watching the girl, not on a screen, but rather from across the beach. The showcase was thought-provoking, inspiring and transformative. Light Collective beautifully found a way to promote women artists who utilize light to create art. Light is often utilitarian and serves as a medium to highlight art. This exhibit gave light the opportunity to be the storyteller itself. ■
Peacock, 2020 by Chila Singh Burman
The show was sponsored by formalighting. All products are track mounted on forma track and all products are controlled by Casambi. Entry Room (Next to Karolina Halatek's Halo piece)' •
Moto-Zero 40 (with Zoom and Tunable White)
FIXTURE SCHEDULE
Staircase Cove • • • • • •
Black/White Geometric Wallpaper Room Passage • • • • • • • • •
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Moto-Jojo Large Room with Peacock by Chila Burman Moto-Zero 80 with Lumenetix (WIL colours on the entrance door and green colour lighting the Cactus/eye on wall) Moto-Zero Pro 130 with Zoom (moving up and down the green table) Zero Compasso 100 wall washer (along the entrance wall with several vases lined up) Moto-Zero 80 with TW (to light area around the Peacock where the artist spoke)
designing lighting
Zero Framing Projector 100 (cutting shapes on the walls within lines of the wallpaper) Moto-Zero 80 with Zoom (moving and focusing beam shaping on objects grouped in corner) Moto-Zero 80 with TW (focusing on the large shelf of objects) Jacqueline Hen Artwork Zero 68 Kitchen Pixo Retro 25 (on main track along the island) Staircase (Posters from Books) Moto-Zero 80