My group crit with Pip today was insightful, resourceful, and encouraging. I introduced my studies of Light with experimentation that was carried out in the ‘dark room’ space of the Maker studio.
By cutting out a simple skyline, on Mirror Card, I was able to create these amazing forms, just by curling the card around or moving the small LED light that was set up. I loved the forms these experimentations made and the way the shadows danced on the walls and ceiling, was a prime example of what I want my idea of a soothing light for Field to reflect and mirror.
I investigated further with my research into Light, light fixtures and how products like the old fashioned, stylish cigarette lighters were designed. In the second image, all my research can be found in the book ‘Art Deco Chrome’ by Jim Linz. The candlesticks and its holders are featured on page 66, the mechanics of the lighter on p150 and the examples of lampshades on p154. I was drawn to these because of how handheld most of them are. The idea of it being handheld and portable; something that fits comfortably in the palm of your hand.
I had a fun afternoon in the library, going through books, broadening my knowledge. This is when I came across ‘New Nordic Design’ by Dorothea Gundtoft, where I found Caroline Olsson, Gudny Hafsteinsdottir, and Olafur Eliasson’s work. I chose their work because of the designs, the simplicity and the complicated.
I then spoke about my personal experience with light and how it affects me. This influences the direction in which I want to take my practice in Field.
Sensory and Light.
After reading the project brief for ‘Light’ in Field, I started thinking about how lights affect me personally. I struggle with sensory overload.
Sensory overload occurs when one or more of the body’s senses experiences over-stimulation from the environment. This occurs quite often with particular lighting, or too much lighting, in one place. I feel it is important for my work to reflect upon my emotional connection with light.
I investigated how light and texture interact in Art, and its trigger response to someone who is prone to sensory overload. For example, Olafur Eliasson incorporates complex light fixtures into his sculptures, which is a primary example of over-stimulating one’s senses. Whereas Caroline Olsson’s work is simple and clean.
Pip mentioned two aspects to consider:
- The product: a solution to over stimulation (your product)
- The Issue: a demonstration of how over stimulation makes you feel (sensory overload)
Could you combine the two into one installation?
Pip also encouraged a meeting between myself and Dr. Wendy Keepwright, who is a member of staff here at Cardiff Met and works closely with autism and coping methods, including work with screens and light.