Light as a genetic element of the image

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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
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Light as a genetic element of the image

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