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NORTHERN
LIGHTS |
7
December 1996--1 February 1997
THE FRUITMARKET GALLERY, Edinburgh* |
NORTHERN LIGHTS
presents eight British and American artists who are using light to create challenging
and innovative new art works. The exhibition centres around an installation by James
Turrell, one of the most famous exponents of light-based art, exhibiting for the
first time in Scotland. Also included are newly commissioned works by British artists
Andrew Gifford, Patrick Beveridge and Richard Ellis, and two works by Adam Barker-Mill.
Science-based US partnership Wenyon & Gamble will be showing two works made during
their residency at The Royal Observatory, Edinburgh, from 1993/94, and Scottish artist
Ally Wallace will be installing "Green Line", a specially commissioned
work in the gallery cafe. [text from invitation card]
7 December 1996 -- 1 February 1997
The
Fruitmarket Gallery,
45 Market Street, Edinburgh EH1 1DF, Scotland, t: +44 131 225 2383 |
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web
page © 2006 Wenyon & Gamble
and authors
mail(AT)wengam.com
Modified: 2 January 2006 |
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The
Form of the Visible, Wenyon & Gamble, 1996
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A
free-standing wall containing holograms, lighting and photographic transparencies.
The wall is 3 metres high (10 feet) and 4.8 metres long (16 feet)
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Both sides of
a constructed wall show alternative views of light's capacity to be divided into
a spectrum of colors. This interested artists and scientists during the course of
the 19th Century, from different points of view.
The front of the wall offers the concrete phenomena of the spectrum itself, a luminous
strip of primary colors spanning the width of the wall but seemingly detached from
it. Behind the wall, artists' depictions of the rainbow of nature are visible through
small tubes set into the wall. Back-illuminated slides reproduce such paintings as
"The Eildon Hills, and Tweed", 1807, by James Ward.
There are two spectra at the front, separated from each other as well as from the
wall. As you approach, the spectra move over each other, generating magentas, pinks
and oranges. At one point the spectra separate, revealing a black of heightened blackness
because it stands between the limits of what a human registers of ultraviolet or
infrared radiation. |
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Slides
with "The Form of the Visible":
Landscape
with Rainbow, Joseph Wright of Derby 1734 -1797
The
Eildon Hills and Tweed, 1807, James Ward
Salisbury
Cathedral from the Meadows, 1831, John Constable
untitled
sky study, John Constable, 1776-1837
Rainy
Season in the Tropics, 1866, Frederic Edwin Church
The
Rainbow, Georges Seurat
Rainbow
over Buttermere, J Turner
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| Optical
Experiments, 1994/96 |
Two
transparent back-lit Gabor holograms
(by the technique of the inventor of holography (1948)) |
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into these images, towards a distant illumination which becomes part of the work.
Receding in the space, bright discs resemble lunar or solar images, or allude to
lenses, optical benches. They are recordings of astronomical photographic plates
with details--photographic images of stars--visible within them. |
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NORTHERN LIGHTS
7 December 1996 -- 1 February 1997
The
Fruitmarket Gallery,
45 Market Street, Edinburgh EH1 1DF, Scotland, t: +44 131 225 2383 |
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The works of Wenyon
& Gamble were supported by: Agfa-Gevaert Ltd, The Leverhulme Foundation, The
Royal Observatory Edinburgh and The Scottish Arts Council. |
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