No, we’re not staring down the eyes of our new insect overlords, but you could certainly be forgiven for thinking so. Instead this is the latest artwork from South Korea-based artist duo Kimchi and Chips (Mimi Son and Elliot Woods) — a piece so thoroughly layered with technology it almost defies description despite being undeniably intriguing to witness. Titled Light Barrier Third Edition, the installation is the third in an ongoing series of works that utilize a vast array of projectors, mirrors, and speakers to present volumetric light forms which materialize in a foggy haze just above the work. From their artist statement:
In this third edition, 8 architectural video projectors are split into 630 sub-projectors using an apparatus of concave mirrors designed by artificial nature. Each mirror and its backing structure are computationally generated to create a group that collaborates to form the single image in the air. By measuring the path of each of the 16,000,000 pixel beams individually, light beams can be calibrated to merge in the haze to draw in the air. 40 channels of audio are then used to build a field of sound which solidifies the projected phenomena in the audience’s senses.
The artists share that over a period of six minutes the piece plays a sequences of images that “employs the motif of the circle to travel through themes of birth, death, and rebirth, helping shift the audience into the new mode of existence.”
A more compact version of Light Barrier was first exhibited in 2014 at the New Media Night Festival, Nikola-Lenivets in Russia. The much larger version of the piece seen here was shown last year in collaboration with the Asia Culture Centre. You can explore many more of Kimchi and Chip’s experiments with light on their website.
Update: Creative Applications just published a great article on Light Barrier.
A Ukrainian blind company called HoleRoll shared this fun set of concept blinds that feature iconic cityscapes cut into blackout curtains. The silhouettes of famous skyscrapers become apparent as light streams in through the window. The images were posted back in 2014 and it looks like their website is currently down, so not sure if they’re available anywhere. Could make a fun DIY project? (via Laughing Squid, Reddit)
Update 1: Aalto+Aalto has a similar concept from 2006 called Better View.
Update 2: It looks like their website is back up. Thnx, Jann.
Sunburned GSP#552( Mojave/ expanding), 2012. 8″x10″ unique gelatin silver paper negative. Private collection.
Photographer Chris McCaw uses the power of the sun to burn markings into his photographs, destroying small areas to appear like the sun itself. McCaw stumbled upon the technique for his series Sunburn after forgetting to close the shutter during an all night exposure. The light of the morning sun destroyed his efforts from the night before, reversing the tonality of the work in a way that has inspired McCaw to continue to experiment with injuring the surface of the photograph.
“The subject of the photograph (the sun) has transcended the idea that a photograph is simple a representation of reality, and has physically come through the lens and put it’s hand onto the final piece,” said McCaw in an explanation of the series. “This is a process of creation and destruction, all happening within the the camera.”
The resulting image from McCaw’s technique shows the landscapes he photographs with a burnt hole or streak where the sun appeared overhead. Often McCaw will combine several works to showcase the sun’s movement—charred dots or a thick line marking its arched path.
Currently McCaw’s Sunburn series is included in his solo exhibition Times and Tides at San Francisco-based Haines Gallery. You can view more images from his Sunburn series on his website. (via Juxtapoz)
Sunburned GSP#202 (SF Bay/expanding), 2008. 16″x20″ unique gelatin silver paper negative. Collection of the Santa Barbara Museum of Art. All images via Chris McCaw.
Sunburned GSP#839 (Every 30 minutes, Arctic Circle, Alaska), 2015. Four 4”x10” unique gelatin silver paper negatives. Private collection
Sunburned GSP#288 (Pacific Ocean), 2008. 11″x14″ unique gelatin silver paper negative. Private collection
Sunburned GSP #676( San Francisco Bay), 2013. 8″x10″ unique gelatin silver paper negative.
Images via Thane Lucas/Toronto Light Festival
Set within a district of Victorian industrial buildings, the Toronto Light Festival is a free 45-day festival occurring during this year’s winter months as a way to creatively draw the city’s inhabitants out of their homes. Featuring 21 diverse light installations built by local and international artists and thousands of glowing bulbs, the festival covers a total of 13 acres in the city’s Distillery District. Installations range from a series of lit figures appearing to jump from the roof of one of the historic buildings to two red, geometric cats prowling an included alleyway, with several multi-colored works in-between.
You can catch Toronto’s first ever light art festival until March 12, or follow the festival on Instagram to catch snapshots of the glowing installations.
“Thicket” (2015), all images © Suzanne Moxhay
Artist Suzanne Moxhay produces photomontage scenes which seem to effortlessly combine elements from both her own photography practice and her large archive of collected images. To compose her taken and collected photographs, Moxhay relies on a film technique dating back to the early 20th century called matte painting, a process where backdrops are illustrated on glass panels and integrated into live-action sets. Using this method she creates the illusion that all of her disparate pictures are one cohesive image, first arranging the fragments on glass, then re-photographing the new configuration, and finally touching up the compositions digitally.
“In my recent work I have been exploring concepts of spatial containment in montages built from fragments of photographed and painted interiors,” says Moxhay. “Architectures are disrupted by anomalous elements – contradictory light sources, faulty perspective, paradoxes of scale. Light casts shadows in the wrong direction, walls fail to meet in corners, an area of the image can be seen either as an enclosing wall or dark overcast sky.”
Moxhay lives and works in London. You can see more of her photomontage scenes on her website. (via ArtistADay)
28-year-old photographer Craig Burrows photographs plants and flowers using a type a photography called UVIVF or “ultraviolet-induced visible fluorescence.” If you haven’t heard of it, that’s not a surprise, as it is a relatively unknown process which brings out the glowing fluoresce in plant matter through the use of high-intensity UV lights.
Typically UV is removed through a camera’s lens, however Burrows photographs with a 365nm LED light which is passed through a filter to transmit only UV and infrared light. The dazzling plant life Burrows’ photographs absorbs this UV light and releases visible light at different wavelengths, which allows him to capture colors far more vivid than those seen in a typical viewing condition.
Although Burrows has limited his photography to singular flowers and small arrangements, his next step is aimed at illuminating entire scenes, like gardens, glades, and greenhouses, with 100-watt floodlights. You can see more of the Southern California-based photographer’s glowing plant portraits on his Flickr and portfolio site. (via Colossal Submissions)