Light as a genetic element of the image

AIC 2004 Color and Paints, Interim Meeting of the International Color Association, ProceedingsLight as a genetic element of the imageFernanda GARCÍA GIL, Ana GARCÍA LÓPEZ, Gertrudis ROMÁN JIMÉNEZ, Sara TEVAALMENDROS, and Teresa VIDA SÁNCHEZResearch Group HUM-480 of the Junta de Andalucía“Constitución e Interpretación de la Imagen Artística” (Constitution and Interpretation of theArtistic Image)In this paper we will try to synthesize the cultural references and the basis of art languageswithin the 20 th century. That will make evident the evolution of colour as main character inthe work of art. This way, we intend to contrast modernity and posmodernity periods in theway colour studies are organized. We can find different arrangements on this matter.Colour studies are relevant for structuralist theories that limit and put language in order.Thereby, compositions and art works in that period are defined just to overvalue structures (toimply space but without plainly talk about it, with the exception of some forms of sculptureand architecture) that best attend colour, form and texture.Starting from these data, a deep change on image construction is shown, and therefore, alsoon the construction of plastic and visual languages. On that setting, colour is placed within aconstant enrichment system, in which all elements feed each other and the links amonggenetic elements remain opened.Conceptual art stresses the evidence of the inseparable link between ideas andmaterializations in artistic creation.Minimal art lays the open image constitution system bare. This is capable of joiningmodernity dominating elements (compositive structure: colour-form-texture) with thoseelements that first originated them (space-time-light-matter).Some artists’ pieces of art accentuate the significant sense of physical as well as theperceptive and receptive experience. Those pieces re-significate the genetic elementsshowing, this way, the intimate indissoluble relationship between the dominant elements inmodernity and those rediscovered to be main characters in artistic movements; that, in theother hand, will lead to posmodernity, as shown in the graphics attached.Light is set to be the space and surfaces descriptor within natural world system of things.Also describes manipulated spaces and objects systems within artificial world. Lightevidences matter bounds in every forms and possible variations. And is precisely its contactwith matter that causes the receptor the sensation of colour when absorption-reflectionphenomena occur.Qualities on matter surfaces will be shown depending on a certain light incidence angle. InModernity time, those qualities have been taken as texture. Texture has come to enrich theinfluence of this perceptive appreciation with colour appraisal, being both sensations differentaspects of light-matter-space-time treatment as a world knowledge experience.For artists’ work, light turns from a passive element into an active and determinant one forthe consecution of their pieces of art. Therefore, a new implementation in art languagesstudies is needed as a strategy to feature and evaluate pieces of artwork within this new pointof start. At the same time, we have to say that most art academies pedagogical programs areimmerse in a period in which colour sensations should be studied, never more in the marginof light and limited matter, but as a whole with the rest of genetic elements.In this set the Research Group HUM-480 “Constitución e Interpretación de la ImagenArtística” has been working for a long time within the work of art perception research area.265

AIC 2004 Color and Paints, Interim Meeting of the International Color Association, ProceedingsWe have paid special attention to the so-called genetic elements of the artistic image: light,matter, space and time, where colour remains as an important element in the artistic language.At the beginning of March 2004, a theoretical-practical seminar was carried out with theBuenos Aires National Institute of Art professor Mauricio Rinaldi, which also works in thelighting area for the Colon Theatre of Buenos Aires, Argentina, and is a relevant member ofthe Argentine Colour Group. The seminar was called “Lighting in Art and Stage Design”.In this seminar, the light work was treated from a basically technical point of view (electricsystems, power phase and distribution, external-internal knowledge about different spotlightsand mixing-light desks, etc.) to a special focus on the significance, that is, not just on the howbut on the why to use a certain lighting sketch. Aesthetics of light and communication theorieswere also analysed, to come up with the consideration of light as a communication elementinside the object of art, as well as stage design or plastic arts.The experience of working with 49 students was very interesting. They made very complexnarrative pieces of artwork, in which light was considered part of the communicative exercise.The above-specified members of the research group have developed a communication aboutthis experience. The importance of this research lies on the integration of the Light andMaterials Laboratory 1 into the Faculty of Fine Arts of Granada University teaching practice.Images of this experience show the sequence and changes of paradigm in visual languagesconfiguration. The relationship of light and matter not only shows colour but other verycomplex and richness phenomena that take part in the construction of images. That is, theopacity and translucency contrasts, different reflection stages that will indicate significantaspects and introduce matter blendings in matter structure surfaces, etc.The work of the Research Group HUM-480 studies this open systems of genetic elementsthat are articulated themselves within the appearance system. The relationship of light andmatter as an actual specific space-time experience, in which they are configured within ageometry that evidences the complexity and richness of images construction. These imagesare not possible without a reception; in the same way colour sensation would not occurwithout a receptor that should eventually transmute the reflected radiation into coloursensation.A new scope of development is happening in visual and plastic art:Artists whose art works are in re-definition and making wide new strategies in artlanguage.Open interpretation systems in a hermeneutic key: materializations, referential and virtualimages. Senses or real interpretations. Senses or referential interpretations. Slidings andtransgressions, etc.Redefinition of nature mute language into plastic and visual images language:interpretative projection. Constructive projection. Pedagogical projection.From art, the relevance on these studies set the basis on visual languages, the narration bymeans of which we understand and create worlds.1 The Light and Materials Laboratory is a creative and technical research project with the purpose ofintegration in the new syllabus of the Faculty of Fine Arts studies.266

AIC 2004 Color and Paints, Interim Meeting of the International Color Association, ProceedingsNext, we will show some artists’ work that can exemplify all what has been exposed.Björn Dahlen: Club Superspace 3, Charm-Sphären(Deuterium Attezione), installation’s view.Kunstverein in Hamburg, 2001. Andrómeda, wood,neon and mixed media, 1999. Artist, sculptor andstage designer born in 1974 in Munich, Dahlenworks in Berlin. The installations retain the spirit ofarte povera because of the austerity and simplicityof his work. Materials used: neon tubes, wood, video monitors. Soft techno lighting, romanticor multicolour, reflects intersideral space recalling the galactic myth by means of light.Martin Creed: Work Nr. 227, the light in a room going on and off,frequency every 5 seconds, variable material and dimension, 2000. Thisartist uses gallery room as container and measurement unity. Born in 1968in England, he lives and works in Italy. He uses light as modellingelement in the exhibition space. The room is empty and the normalillumination is substituted with intermittent lighting that blinks in fivesecondgaps. With this minimalist installation the artist catches theattention over physical space through the play of light.Carsten Höller: Light wall, installation’s view, Prada Foundation, Milan,2000. This artist creates a successful combination of art and science. Hetries to wide and spread the boundaries of human perception, searchingpsychological sensations. If we want to open our perceptive horizon, weshould give up our habits and certainties. In this piece of art, 1920 bulbsemitted light and heat, switching on and off in a 7,8 Hz. frequency gasp.Even with their eyes shut, the spectators could not hide from light. Brain iscompared to an electric system that synchronizes external impulses.267

AIC 2004 Color and Paints, Interim Meeting of the International Color Association, ProceedingsJacques Herzog and Pierre De Meuron: Goetz Collection, Munich,1992. This is an exhibition gallery. At a first glance it might recallthe structural clarity and functionality of pieces by Mies van derRohe, but a deeper analysis reveals a more complex and uncertaincharacter. Distance between apparent and real is shown also in thebuilding structure. The rhythmical division that the supportingvertical elements produce, call for diagrammatical clarity inrationalism. The upper and lower floor feature light in the way of askylight.Norman Foster & partners: Centre of Industrial Promotion,Duisburg, Germany, 1993. We can watch light andarchitecture joining in a perfect way. This new city councilpromotion central office intends to be emblematic ofGerman region Ruhr new economical revitalisation. Thisbuilding is sited in microelectronics Park, also by Foster,which is composed by a group of buildings set downtown.The Promotion Centre is glass coated over the concretestructure. This makes light to reflect outside as a screen. Ifwatched at night, with its blinds open, this building glassoutside wall has a minimalist interpretation. In daylight, theshinning closed blinds offer an appearance of a reflectingand opaque frontage. Foster’s modernism exemplifies theuse of light as the main character in architectural design.Friedrich Förster and Sabine Weissinger: The Magic House. These artists have developed atechnique in which big slide images are projected over huge surfaces. They have beendeveloping this technique since the eighties and have come up with a computer based controlsystem. This way images can be manipulated to fit the building structure and dimensions. Oneof the main characteristics of the Magic House project is that integration between buildingand aesthetic design projection is perfect. Building façade turns constantly into differentconceptions according with the topic related, changing from dynamic moving images withsound to those slow track changing static ones. “Our main target is not just to illuminatebuildings, but to enhance its architectonic, historical and aesthetical values, as well as thesame place where they are set”, says Förster. Building artistic lightening and projecting is ayoung gender within the art practices. Förster and Weissinger illuminated the inner spaces inCologne St. Peter’s gothic cathedral, accepting the challenge of lightening the second biggestgothic cathedral in the world. After the sunrise, the Magic House spectacle started when 6huge projectors were switched on inside the cathedral. Projected light over walls, vaults, highaltar and columns would show images of architectural composition taken from the samebuilding: tessellated pavement, tracery and stained-glass windows... Images changed speedfrom a slow star rain to a quick flow of images turning colours and shapes. The spectatorperceives a sudden sensation of sliding walls, rotating columns and that the whole churchstarts to move. Movements are soft, though, and invite the audience to enjoy the show andthink over life, colour, movement... “We search for a 3D sensation with our projections sothat we can provide the inner spaces with life”, says Förster.268

AIC 2004 Color and Paints, Interim Meeting of the International Color Association, ProceedingsView of the interior of the Cologne cathedral, Germany.Friedrich Förster and Sabine Weissinger: The Magic House, LichtRaum Dom. View for theChorfestival 2004 in Germany.Address: Fernanda García Gil, Depto. de Pintura, Facultad de Bellas Artes, Universidad deGranada, Av. de Andalucía s/n, Edificio Aynadamar, 18071 Granada, SpainE-mails:269