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.
Portland artist Eric Franklin (previously) just completed three new works, a trio of neon glass skulls lit internally by ionized neon, krypton, and mercury. The structure of each human skull is deviously complex, made from a network of glass tubes that have to be perfectly sealed to create the vacuum necessary to light them, a process that leaves the figures somewhat misshapen and admittedly a bit creepy. A completely amazing sort of creepy. All three artworks are currently available for acquisition through Chris Forney over at Artworks Gallery. All images courtesy the artist.
Portland-based sculptor Eric Franklin constructs stunning (if not slightly disconcerting) anatomical light structures that are fully hollow and filled with ionized krypton, causing them to glow similar to a neon light. The glass skeleton above, Embodiment, is my jaw-dropping favorite of this series. The piece took over 1,000 hours of work over a two year period and is actually built from 10 separate units of glass formed from borosilicate glass tubing. The process of creating something like this is unbelievably painstaking as Franklin shares via email:
Every glass seal has to be perfect, and this piece contains hundreds. Everywhere one tube joins another, or a tube terminates, glass tubes were sealed together. They have to be perfect in order to preserve the luminosity of the krypton. If one rogue molecule gets inside the void of the glass tubing it can eventually contaminate the gas and it will no longer glow. There are times when the holes in the seals are so small that you cannot actually see them with your eyes without the help of a leak detector. Once the glass pieces are ready to get filled with gas, I pull a high vacuum while the glass is hot in order to evacuate any dust or water vapor from the interior surface until there are literally no molecules inside the void of the glass. Then the krypton can be introduced and the glass sealed off. It’s an extremely tedious process, one I have somewhat of a love/hate relationship with.