Light of the Shadow 07
Light of Shadow 07, (installation), Engraved Plexiglas with LED Light, in dark room, 40 x 60 cm each.
We all know that a work of art, whether it be a painting or a photograph, depends on the tonal harmony between light and shadow. They, like colors, give objects vitality and radiance, and enable the artist to express properties such as volume and depth. It is also known that there are gradations of light and dark shadows. Objects that are closer to a light source appear smaller, and those further away from it appear larger. This work rebels against all these preconceived ideas and beliefs. Here, Shadow turns to light, and gradations disappear. In the end, this shadow turns to light- really brilliant light was once merely a shadow. The work has an abstract quality, as the areas where the shadows of light fall paint symbolic pictures that give them the opposite meaning.
The work was initially intended to be a massive project to be executed outdoors in different areas of the city. A marker was to be used to outline shadows, as a start, and then those areas were to be filled with glow-in-the-dark colors. Thus, the shadows of the day would turn into lights at night. Such a work would stick in the memories of the viewers long after it has been removed. These types of works take a lot of time to complete and would also require special permission from the appropriate authorities. Therefore I thought I would transfer my idea into a photograph displayed in a dark room with the shadows painted on with florescent colors so that they turn to light in the dark room.
“Light of Shadow” is a project whose subject and instrument are the walls, people and objects, using two basic tools: colors and a marker. This is the easy way of drawing things. It is simple, unpretentious and everyday behavior to represent human interactions with nature. We probably engaged in a similar activity as kids, and it is very similar to painting on walls. The 'intricate' part of the work, and its goal in my eyes, is the reintroduction of a technique, and the redefinition of things in a new light and with different qualities. Using florescent colors, the definition of shadow is transformed into light, and the effect is obtained by displaying the work in a dark room. The work might come out differently but with the same idea and artistic vision that matches this principal of intricacy. Perhaps it would be more accurate if I said that, conceptually, this idea came about as I contemplated the backgrounds of open spaces, wide wall and narrow streets. The contemplations also included people, trees, plants, earth and their shadows.
Each work has tools and artistic elements determined by the nature of the work itself. My tools here are a brush and colors, tools that have been used since the dawn of time. However, my canvas is different. I have used the surfaces of earth, walls, objects and even humans. This work is intimately related to nature, and it has been decided that it would be moved from the exhibition hall and displayed outdoors with the objects of its native environment. People see shadows but never notice them, and this noticing and utilization of what people ignore or discard is what distinguishes environmental artists. Through this work I attempt to express the innate power of nature and the power that an artist bestows to it through adding and altering things to and from it.
We all know that a work of art, whether it be a painting or a photograph, depends on the tonal harmony between light and shadow. They, like colors, give objects vitality and radiance, and enable the artist to express properties such as volume and depth. It is also known that there are gradations of light and dark shadows. Objects that are closer to a light source appear smaller, and those further away from it appear larger. This work rebels against all these preconceived ideas and beliefs. Here, Shadow turns to light, and gradations disappear. In the end, this shadow turns to light- really brilliant light was once merely a shadow. The work has an abstract quality, as the areas where the shadows of light fall paint symbolic pictures that give them the opposite meaning.
The work was initially intended to be a massive project to be executed outdoors in different areas of the city. A marker was to be used to outline shadows, as a start, and then those areas were to be filled with glow-in-the-dark colors. Thus, the shadows of the day would turn into lights at night. Such a work would stick in the memories of the viewers long after it has been removed. These types of works take a lot of time to complete and would also require special permission from the appropriate authorities. Therefore I thought I would transfer my idea into a photograph displayed in a dark room with the shadows painted on with florescent colors so that they turn to light in the dark room.
“Light of Shadow” is a project whose subject and instrument are the walls, people and objects, using two basic tools: colors and a marker. This is the easy way of drawing things. It is simple, unpretentious and everyday behavior to represent human interactions with nature. We probably engaged in a similar activity as kids, and it is very similar to painting on walls. The 'intricate' part of the work, and its goal in my eyes, is the reintroduction of a technique, and the redefinition of things in a new light and with different qualities. Using florescent colors, the definition of shadow is transformed into light, and the effect is obtained by displaying the work in a dark room. The work might come out differently but with the same idea and artistic vision that matches this principal of intricacy. Perhaps it would be more accurate if I said that, conceptually, this idea came about as I contemplated the backgrounds of open spaces, wide wall and narrow streets. The contemplations also included people, trees, plants, earth and their shadows.
Each work has tools and artistic elements determined by the nature of the work itself. My tools here are a brush and colors, tools that have been used since the dawn of time. However, my canvas is different. I have used the surfaces of earth, walls, objects and even humans. This work is intimately related to nature, and it has been decided that it would be moved from the exhibition hall and displayed outdoors with the objects of its native environment. People see shadows but never notice them, and this noticing and utilization of what people ignore or discard is what distinguishes environmental artists. Through this work I attempt to express the innate power of nature and the power that an artist bestows to it through adding and altering things to and from it.