Color, Space #1 is the first of a planned series of 10 pieces that will explore the interaction of vintage external form with hi-tech projected imagery provided by manipulated laser light. New lamps in old, as Aladdin would have expressed it.
There is a tension between the patterns that are random in the microcosm, yet controlled in the over-all design. Looking deeply into the lumia reveals fractal-like patterns containing regularly-spaced dark bands among the brighter areas. These are called “interference patterns”, a phenomenon rooted deep in physics whereby refracted light collides with itself and periodically cancels itself out. The underlying science may be impenetrable to the viewer, but the results add much to what is experienced in terms of complexity of vision.
The lasers themselves are high-tech optics devices that produce the purest possible light and the straightest of lines. In this case, the laser is housed in an artwork comprised of a vintage (c. 1950) stage light which was modified in my studio, and the whole is McGyvered into a projector of kinetic art. Once the high-tech meets the low, and the photons hit the glass elements I have hand-crafted into my engines of light, art ensues.
My artistic focus has always been concentrated on the interplay of art and technology: primarily the interaction between the audience and light. I try to raise light to its purest level, illuminating our world in novel ways to inspire and awe the beholder. And what better way to condense the perfection of light than by using lasers - monochromatic until combined, linear until artistically altered, coherent until molded by esthetic enterprise.
A purity of color, a movement of line and form, a brightness to rival the natural noon; that is my direction.