Light in Space

Light in Space



What does time have to do with light?
Time is how light is seen or sensed by us.
Light is a determiner and time is how we perceive light as fluid material in space.
Light energizes space and drives life.
Light is the remote energy that makes us alive.

Adding time to light in a work of art is not really a choice of having or not having light involved in the work of art.
Creating an experiment—making a special case—a dark room, waiting for a solar eclipse, reprograming street lights—are all special cases of light and time.
How long can you make a room dark, how often is there a total eclipse of the sun, how long can you get away with reprograming streetlights?










The bridge shown here has three ellipsoidal negative spaces – the spaces under the arches – these spaces are recreated in reverse on the surface of the water.

These spaces—these volumes—are negative at night.
During the day there are passive—at dusk and dawn the same volumes are alive with movement and color since the river is situated so that the sun, at certain times of the year actually reaches under the bridge.
Boston is a northern city—not as far north as Moscow or Helsinki, but enough to have a serious light deficit for at least six months—with three months of days with less than eight hours of natural sun light.

Why not extend dusk and dawn to include the “dark days”? Illuminating the space under the arches became a way to recreate the space in light.
The time factor –day to night to day again—places the work of art in a time dependent relationship to the space occupied.
The lights are not just on or off—they are “put on” by light (or the lack of natural light) and “put off”.
In between “times” the light under the bridge becomes fluid in its space.
Leaking out when the sky is ink black and concentrating when the sky is overcast and orange with the leakage of sodium vapor street lights.
A city is a dynamic space at night.
There is a chaos of light and mass constantly interacting.

Intervention is constant—somebody adds a security light to the side of a building—a construction project starts at night—a caravan of emergency vehicles invades an unlit alley.
Putting a purpose built work of art in light into this dynamic fabric of light and dark demands interaction—relationships—responses.