Paired with static, beeps, and soft melodic sequences, a series of glowing geometric shapes by Reuben Wu (previously) appear to emerge from the air in his new project, EX STASIS. Created in his signature otherworldly style, the Chicago-based photographer draws on both his Lux Noctis and Aeroglyph series, which use a combination of drones and light painting, to illuminate the rugged topographies with rings, tubes, and dots that spin and contort in hypnotic motion.
For EX STASIS, Wu programmed a stick of 200 LED lights to shift in color and shape above the calm landscapes. He captured the mesmerizing movements in-camera, and through a combination of stills, timelapse, and real-time footage, produced four audiovisual works that juxtapose the natural scenery with the artificially produced light and electronic sounds. “As it gets dark, my surroundings cease to be an exterior experience and become a subliminal space, and that’s when I feel most connected and aware of my sense of being,” Wu says. “This dynamic terrestrial chiaroscuro synchronizes with my sound design and music to form singular looping pieces.”
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An undulating kinetic artwork by Scale Collective blends organic movement and architectural forms in a mesmerizing installation. Created for the Constellations Festival in Metz, France, “Flux” is comprised of 48 beams of light that stretch 1.5-meters-long and are spaced 40 centimeters apart. Each is connected to a single mechanism that’s motorized and controlled by viewers through an interface, allowing for a synchronized performance of twisting and coiling patterns. “The formal multiplication of these lines coupled with micro variations of phases, time delays, speeds, and amplitudes allows us to sculpt an object 20 meters long, alive and evolving with a cyclical back and forth movement,” the French collective says. See more of the group’s dynamic projects on its site, Vimeo, and Instagram. (via Core 77)
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Approach the delicate glass artworks by Rui Sasaki, and witness the unpredictable patterns of the weather through a subtle glow of blue light. The Japanese artist’s experiential body of work translates varying forecasts into speckled sculptures that radiate once encountered, an intimate process that Sasaki describes as a way to “visualize subtle sunshine, record today’s weather, and transfer it from here to there/from there to here.”
At their brightest, the phosphorescent crystals are tinged green before fading to blue. “Visitors will doubtless be surprised to find that even if they cannot see anything on first entering the gallery, stay long enough and their eyes will become accustomed to the dark, and the elements of the work will gradually become visible,” Sasaki writes. Because each encounter sparks a unique reaction in the embedded lights, no two experiences will be the same. She explains:
The phosphorescent glass used stores light of a wavelength close to that of sunlight, with this stored light then glowing in the dark. That is to say, one is now seeing light accumulated in the past. If a viewer remains in the gallery for an extended period, the next viewer will see the work glowing weakly in the darkness. With longer viewing time, the light of the phosphorescent glass fades, moment by moment, until finally the gallery is plunged into darkness. This might occur a minute later, or a day later, depending on viewer movements.
Many of the sculptures evoke organic elements in material, concept, and sometimes form, whether shaped into swollen raindrops or a sun-like orb. Others, though, are depicted through domestic scenes with dinnerware or a suspended chandelier, a juxtaposition that relates to Sasaki’s feeling she had lost her sense of home after moving to the U.S. for a few years. Now living in Kanazawa, the artist is using the weather and surrounding environment as a way “to recover from the reverse culture shock and rediscover my intimacy towards my home Japan little-by-little and day-by-day.”
Sasaki’s sculptures are part of multiple group shows, including one at Toyama Prefectural Museum of Art & Design through April 4, another at Art Museum Riga Bourse that will re-open April 6, and an upcoming spring exhibition at Tainan Art Museum in Taiwan. She also has a solo exhibition at Tokyo’s Gallery DiEGO Omotesando slated for May. Watch this interview and studio visit for a glimpse into her process, and follow where her work is headed next on Instagram.
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In Vitor Schietti’s Impermanent Sculptures, thick treetops and branches are swollen with light that appears to drip down in incandescent rays. Each photograph frames the nighttime scenes in a dreamy, energetic manner as the glowing beams both outline and obscure the existing landscapes. Schietti shot the pieces shown here in February and March of 2021 around his hometown, Brasília, but the ongoing series first was developed in 2015.
Although some of the long-exposure photographs are taken in a single shot, many are composites created from various light paintings. He explains:
Apart from this process and color and contrast adjustments, the result is conceived entirely from real action with fireworks, a performance that shifts between spontaneity and control… To paint with light in a three-dimensional space is to bring one’s thoughts from unconscious realms into existence, only visible as presented through long-exposure photography.
Schietti sees the luminous series as a celebration of the Brazilian city, which he describes as a tree-filled oasis of birds and cicadas that’s “often integrated with the genius architecture of Oscar Niemeyer…Appreciating their hidden expressions, or imagining the life force that pulsates and emanates from them maybe a little less ordinary, so here (the) images play an important role: inspire and foster imagination.”
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Spread across a thick field of leeks in the Netherlands is Daan Roosegaarde’s new installation that illuminates the practice of modern farming, highlighting the plants that feed us and their plights. In “Grow,” the Dutch artist and designer, who’s known for glowing, interactive exhibits, implanted the rows with red, blue, and ultraviolet lights that shine vertically across the crop and shift in entrancing motion.
Spanning 20,000-square-meters, the multi-faceted project is both aesthetic and practical: the radiant landscape is visually stunning, while the embedded elements enhance plant growth and cut pesticide use in half. Roosegaarde worked with existing photobiological technology and distinct “light recipes” that are thought to improve crop resistance and their metabolisms without added chemicals. “It gives a new meaning to the word ‘agri-culture’ by reframing the landscape as a living cultural artwork,” the studio says in a statement.
In a conversation with Dezeen, Roosegaarde noted that a trip to a local farm spurred the project, which the designer now hopes will act as a blueprint for similar works. The Netherlands is the second-largest agricultural exporter in the world—the U.S. is first—and is known for innovating more sustainable technologies. With some shifts in the combination of lights and placement, this singular project could have wide-reaching implications for crop production around the world.
“Grow” took Roosegaarde’s studio about two years to complete and is part of Rabobank’s artist-in-residence program. It’s slated to tour 40 countries in the coming months. For more of Roosegaarde’s work that falls at the intersection of art, design, and science, head to Instagram.
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Step into Claudia Bueno’s aquarium-style installation at Meow Wolf’s new space in Las Vegas and experience the slow, oscillating movements of natural life. “Pulse” is comprised of countless white line drawings that are meticulously intertwined and superimposed on 60 glass panels. When illuminated, they mimic scores of nautilus spirals, coral, vines, and botanics that sway and throb in glowing masses.
“This is what ‘Pulse’ is, a way of creating animated volumes using layers of drawings that build up. I have been refining this technique for the last six years, understanding how these forms can also have a moving quality when the light system is applied,” the Venezuela-born artist says, noting that the idea for the project grew out of a visit to Yellowstone National Park.
During the course of eight months, a team of women painstakingly painted the glass panels at Bueno’s Idaho studio. “The repetitive/meditative quality of the work lent itself to provide a very special healing space for us as we drew fine lines for hours and openly shared and supported each other,” she says. No matter the scale of the project, Bueno begins with a single dot that she duplicates, expands into lines, and eventually into intricately developed patterns, which she explains:
It seems like it doesn’t matter what size, materials, and tools I am working with, the same kinds of patterns manage to manifest themselves over and over, building on each other, gaining both complexity and simplicity at the same time… It has been an interesting brain challenge to visualize a stack of 2D drawings that then become 3D and move. It’s my own version of a non-digital, hand-drawn time-lapse or animation.
Although much of the installation’s work is complete, Bueno shares that she’s creating smaller sculptures, jewelry, and other works to coincide with the larger project. “Pulse” is set to premiere at Meow Wolf’s satirical sendup of consumerism, Omega Mart, which the Santa Fe-based arts group (previously) will soon open within Area 15 in Las Vegas. Until then, watch the video above by Adolfo Bueno and find more of Bueno’s light-based works on her site and Instagram. Video by Adolfo Bueno.
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Editor's Picks: Design
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