Lighting : Lighting October 2016 - Vol 36 Issue 5
32 LIGHTING MAGAZINE | October/November 2016 and expose their talent and ideas, and grow together as artists working with light. It is at the core of my curatorial approach and the judging of exhibition proposals. The first question I ask myself about each proposed work is “why light?” – why is the artist using light for this piece, is it integral for the work’s message? Would it cease to function in a communicative sense without its use of light? How is the artist using the ‘stuff’ of light? We try to allow each artist, and encourage them, to push their proposal and their practice to a new level, by giving them the best space in which to do so. A space that helps create the experience they always wanted, with a level of control not available in bigger light festivals. Something that is challenging and contemplative for a viewer, and more intimate – in my opinion by far the best, if not the only way to experience the subtleties of light, which is where it’s real beauty and power lies. It is also a unique opportunity to create work as part of a bigger context, and exhibit with close to twenty other artists doing the same. The community brings together people from the design industry, lighting engineers and artists at all stages of their career; this coalescence of creative potential is at the core of Globelight. New collaborations and relationships have been formed over the years, with each person’s talents, knowledge and experience bringing something unique and extremely valuable to the party. Energy as Light was the theme of the 2016 exhibition, the third in four years and our first as a not-for-profit organisation, which raised the bar once again. There was a real sense of experimentation about the works, James Tapscott’s Crepuscle (salt, light) in Off The Kerb Gallery. Image supplied by Globelight.
Lighting August 2016 - Vol 36 Issue 4
Lighting December 2016