Sensory System is the first exhibition of a major new programme for the Grundy Art Gallery incorporating the broad theme of light, to occur annually to coincide with Blackpool's famous Illuminations, a six- mile - long outdoor lighting display that takes place in the town every autumn,
Sensory System bring together the work of 5 artist who are interenationally regarded for their work utilizing the medium: Angela Bulloch, Rafael Lozano- Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross.
The exibithion explored how each has incorporated light into their work; by turns "drawing, sculpting, and painting with it to create the installation on display, generating immersive, interactive or sculptural environmnents that explore how light, and "system" involving light can affect our sense- perceptual experience of space.
Angela Bulloch (born 1966 in Rainy River, Ontario, Canada), is an artist who often works with sound and installation; she is recognised as one of the Young British Artists. Bulloch lives and works in Berlin (Wikipedia)
She uses video, sound and light to explore how the human might integrate with technology though system and cybernetics. For these works, Bulloch has created stacked coloums of polyhedra, formed from steel and Corian.
Subtle changes in light are generated from mathematically perfect equations.
The sculptures are human scale, establishing an intimate dialogue with the viewer but, in their geometry, and smooth, cool finish, have an air of science finction or retro future about them, while also recalling Minimalism.
Entitle Anima EVE and Animus Ernest these works make reference to Jung's theory of archtypes: the male and female qualities we unconsciusly attribute to inanimate objects.
Anima Eve, 2015
stack of four irregular rhombuses, one Cameo white, three Blueberry Ice, with one light element
204 x 72x 50 cm
Rafael Lozano- Hemmer
He often takes elements of physical interaction and gives them a visual and sonic form through complex digital technology.
Voice Array(2011) combines different senses, with visitors speaking into a voice box and watching their sounds, together with others recorded by previous viewers, transformed into abstracted patterns of light around the room.
The work is made up of lines of light emitting diodes (Leds) each representing one voice recording.
When activated by talking (or singing) into a microphone, the speaker's voice is recorded and turned into a visual pattern comprising all the lights in the space, rather like the bars on a stereo system, melding each recording into a cacophony involving all the previous 288 recordings before a previous recording is selected at random and played back.
Voice Array, 2011
Intercom, 1856 white LED lights, 928 independent sound channels, 16 speakers, custom- made hardware and software.
Ann Veronica Janssens
has described how her work is often based on techincal or scentific facts, such as how being dazzled or saturated by colour and light might relate to psycology, and how the brain works. For Jansens, the process of making the artwork is like a laboratory reveling its discoveries.
By testing the limits of perception she believes that these experiences act as passages from one reality to another.
With the works in Sensory System Ann uses dichroic filters to paint the gallery walls with highly saturated, carefully composed colour projections, In red & Turquoise (2005) , the two projections of light sharply intersect to form a kind of colour triangle recalling the colour theories of Johann Wolfgang von Goethe, who grouped different colours into complementary and opposing pairs: red and green, orange and blue, yellow and purple.
Red & Turquoise, 2005
2X300 watt halongen lamps, dichroic colour filters, 1 tripot
- NOT part of the exibithion
States of Mind: Ann Veronica Janssens
his exploration into projections in smoke led to the development of his solid light installations. His earliest piece was Line Describing a Cone (1973) in which a circle slowly "drawn by 16 mm projection, becomes a solid cone of light through the addition of a haze machine in the room.
McCall's You and I, Horizontal (2005) shown in Sensory System is a more recent iteration of this early idea involving the slow movement of curve, line and arc.
These slowly evolving forms shift in what McCall has described as a state of "continuos mutation", being at once kinetic sculpture, cinema, drawing and animation.
You and I, Horizontal, 2005
Computer, computer script, video projector, and haze machine
Slow Arc Inside a Cube VI (2013) creates a vertiginous shadow effect through the slow mechanical movement of a single light bulb on the end of a wand inside a latticed structure.
Shawcross, like Janssens, is interested in the physics behind light, and alongside phenomenological concerns run interestes involving the qualities of the technology itself in generating the environments and encounters.
Shawcross recalls the inspiration for this work stemming from a residency at the Science Museum in London where he read an account by Nobel Prize-Winning chemist Dorothy Hodgkin describing how the diffraction pattern of X-rays bouncing off a protein's atomic structure is akin to decoding the shape of a tree form the shadows cast by its leaves.
Slow Arc Inside a Cube VI
Mechanised system, steel, light, aluminium, motors