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Vancouver Some of my earlier works were
involved with the use of colored lights -red, yellow, blue, - to produce
white light. This white light was projected on two surfaces
-- leaded plastic panels and white fiberglass forms, some including small
flaked glass.
These panels were very similar
to movie screens. The surface sparkled as the observer moved past and also
due to color subtraction,
the observer created shadows.
Hence developed an interest
in lights on objects and light itself; and also the desire to develop an object
with a maximum of an inherent reflection or refraction
quality.
These early pieces were of wood
(white) or black and white fiberglass - using two major surfaces - gloss
and flat. And for a time this satisfied my desires.
Next, during a studio relocation,
I photographed the pieces in various outdoor locations. This led to a desire
for a more flexible object for photography.
One which would express more of the various qualities I had observed while
working with plastics.
Now, this object would be a "synthesis"
of all or most of my earlier concerns with light on surfaces and the effects
as a
possible direction to an art form.
(Before) actually constructing
pieces for light works I had "illuminated" various textured surfaces - artificial
grass, metal, rope etc.)
By a random and, I suppose, partially
selective process, I began to photograph the first resin spheres. The results
fascinated me and I proceeded to do
a series of photos which illustrated all the various qualities possible with
such an object. At this time I was not concerned with
creating a piece of "sculpture". The photos were enough and the whole process
of photography, plus results, was something I had
never explored before, so I continued in this vein for some time.
Then I wished for more spheres
to obtain even greater variations in graphic quality of the photos.
Still I was not really concerned
with working towards a sculpture piece -- but in retrospect I was doing just
that. Also, at this time I took 16mm
and 8mm studies of the spheres. Much of the material produced was similar
in process to the glass leaded panels done
earlier and were truer to the changing effect of light and movement. I also now had the record of these effects:
Now, here I was. I had 60 spheres,
100 photos, some film and a desire to go further.
I had done a lot of modular
work and didn’t really wish to do more but perhaps I could use the spheres
to develop another variation.
Two of the spheres were almost
straight sculpture.
So we have:
1. Large sphere with resin
disc (to me sculptural in relation to past fiber forms)
2. Spheres now off beach and
into gallery (modular arrangement) similar to glass leaded panels
3. & 4. White domes containing
approximately 9 various sized spheres, 3 resin hemi-spheres.
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1. There were 9 various sized
spheres for filming, Photography or just playing with.
2. These spheres were in a
container with handle and hinges and could be easily transported.
3. The container was part and
parcel of a piece-the three other white spheres.
4. The white sphere was in
a sense a piece of sculpture.
5. The white sphere had most
of the qualities of fiber pieces done earlier - light, white, round and flat
(surface).
6. The light reflection, gloss,
transparency of plastic was contained in the white sphere via the 9 resin
forms.
7. Also the photos and film
have been displayed with these pieces and gave a greater range to the objects
so shown. (Their travels you might say)
Conclusion:
I now had a piece which was
"straight” but was also more manipulative than the earlier works. I wasn’t
fixed to the gallery situation and its major concerns. I also had a "piece"
which could evoke in myself most if not all the qualities I had observed
in the "field" and in the "studio". And in a sense, the photos are not just
documentation of the work but part of the piece and as necessary as the piece.
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