While on a recent trip through Hong Kong, Shenzhen, and Seoul, London-based photographer Marcus Wendt found himself suffering from a bout of jetlag induced insomnia and ended up wandering the streets of several cities late at night. With a camera in-hand he captured these mesmerising shots that channel the cyberpunk vibe of movies like Bladerunner where narrow urban alleys are bathed in cool ultraviolet light. Over several days Wendt worked his way through the Kowloon area of Hong Kong and then Shenzhen’s Huaqiangbei area known for its sprawling electronics market, before eventually traveling to Seoul. You can see more from the project on his website. (via Colossal Submissions)
This Is The End, From the Series ‘No More’, 152×191cm, C-type Print, 2016
Like the loop-de-loop scribbles of a child, artist Jung Lee (previously) constructed a series of neon light sculptures that were installed and photographed against cinematic landscapes as part of her series titled “No More“. Earlier neon works by the artist have focused on legible typographic phrases and words, with these new pieces taking a markedly abstract turn, perhaps in direct connection with the series’ title. The neon sculptures were installed on foggy snowbanks and reflective beaches, adding a bit of intrigue as to their intention. Photographs from the “No More” series were on view amongst several additional light installations last year at One and J Gallery. (via Fubiz)
No more, From the Series ‘No More’, 152x191cm, C-type Print, 2016
Unintelligible, From the Series ‘No More’, 152×191cm, C-type Print, 2016
Still Dreaming, From the Series ‘No More’, 152×191cm, C-type Print, 2016
Take Me Away, From the Series ‘No More’, 128×161cm, C-type Print, 2016
Suspended from the ceiling of Tate Britain's Duveen Galleries is Welsh artist Cerith Wyn Evans' latest installation, over a mile of bright neon lighting broken into abstract lines and monumental curves. The piece, Forms in Space… by Light (in Time), changes with perspective, each of the work’s three sections continuously morphing as one walks around the clusters of kinetic energy.
These abstract symbols appear as marked movements in the air, a direct intention by Wyn Evans who was greatly influenced by Japanese Noh theatre and choreology—the practice of turning dance into notational form.
Other site-specific installations by the aritst include Arr/Dep (imaginary landscape for the birds) at the Headquarters of Lufthansa in Frankfurt (2006) and E=V=E=N=T (2015), a sculpture commissioned for Malmö Live. You can visit his installation, which was produced for the Tate Britain Commission with support from Sotheby’s, until August 20, 2017. (via Dezeen)
Art Director Liam Wong spends his days directing the visual identity of video games at Ubisoft, while his nights are spent exploring the neon-splashed streets of his city of Tokyo, and sometimes London. Wong places these images, that seem to mimic the appearance of a video game themselves, on Instagram. Here he has a huge archive that explores how the digital has embedded itself within the cities’ landscapes, meshing reality with flashing LED lights, scrolling messages, and neon signs. You can also see more of Wong’s imagery on his Facebook, and Society6 where you can buy his prints. (via My Modern Met)
Swing is a 2007 kinetic sculpture by Luxembourg musician, artist and photographer Su-Mei Tse. If you’re like me you can’t wait to jump on for a ride, however it would all be over before it started as the entire piece is essentially a rigid light made of white neon tubes and controlled by a motor embedded in the ceiling. Watch the video above to see it installed at Peter Blum gallery back in 2009 along with her neon bird cage. (via 2headedsnake, mithril, yiping lim)
Like a freak midnight rainbow, this ongoing series of lit waterfalls titled Neon Luminance is part of a collaboration between Sean Lenz and Kristoffer Abildgaard over at From the Lenz. The duo dropped high-powered Cyalume glow sticks in a variety of colors into various waterfalls in Northern California and then made exposures varying from 30 seconds to 7 minutes to capture the submerged trails of light as the sticks moved through the current. To accomplish some of the more complicated shots they strung several sticks together at once to create different patterns of illumination. For those of you concerned about pollution, the sticks (which are buoyant) were never opened and were collected at the end of each exposure, thus no toxic goo was mixed into the water. See more from the project on their website.