The collection was inspired by McCall’s Light installation, SOLID-LIGHT, which caused ILLUSION.
People live in thoughts and it causes illusions. When they are aware of being in the middle of, it exists and they are alive. However, it disappears when people bring a stop to it. It is akin to light.
Light art is an intrinsically sensitive medium and also demands a complicated simplification towards a magical break. The inherent energies of light as tamed lightning and natural force amplifies its ability to send signals directly to the mind and throw us into another state. This is the key to a new spiritual way of looking outwards and inwards, from the material to the transcendental.
The heavens have come closer to earth, like dreams come true.
For artists, art work is to give the spectator an affirmation of an artist’s own reality in a life of illusion.
Anthony McCall’s works are fantastic in dealing with light. In particular, he dealt with moving light in a space so that his work appeared as a complete aesthetic entity, as well as the experiential aspects depending on visitors’ decisions.
The idea of sculpture fashioned out of photons sounds impossible, but that is the best way to think of McCall’s ambiguous output. His paradoxical forms of “solid light”, to borrow his own oxymoronic phrase, seem to defy physics and yet there they are, beguiling us with otherworldly beauty. Like the magic lanterns, traditional possession of images was abandoned. . .
‘To experience Anthony McCall’s solid light films is to be plunged into a luminous whorl of suggestions: an abrupt reduction of the cinematographic medium; the resurgence of 19th century spiritualist beliefs; pure abstractions, sculptures of light and planes expanding through space; psychedelic spirals, surmountable walls and ephemeral decors; a framework for collective experience.’
From Anthony McCall: Elements for a Retrospective 1972-1979 / 2003-
Humans are oriented towards clarification. Every time and in every situation they think and try to find out the right answer as they want to make as few mistakes and failures as possible. Although they suffer from such a need for clarification, it is inevitable and of course, it makes them alive and keeps them awake. And this continues to the next situation and influences the next thought, and people work out problems deeply and closely as well as wisely and effectively, even more beautifully as well. In the end, the aim is interpretation. Taking something old, and then interpreting it as something new. It must be fun for me though.
Otherwise it could be said that we live in the past. I like Proust. The novel ‘In Search of Lost Time’ which teaches us to enjoy life, or to endure it shows how to look carefully at the little things and talks about the consciousness of moments in a life. Proust also showed us how life and time are separate, to deal with memories. In the other title ‘Remembrance of Things Past’, things happened in the past, but Proustian understanding is not connected with time. The past is not just subjected to an indefinite process of reinterpretation, but can be materially altered by the desiring intelligence of the narrator: armed with new information and switching the direction of his gaze, Proust can give the past new content. This is the key that I want to deal with, similar to conceptual art, transferring one to another, and to the other, again, developing and repeating, like from past to present, and to future with a radical connection.
Thus one of my projects shows, in a literal way, that I dealt with my own past drawing objects and how the memories works into my present.
For other projects, furthermore, research and development of the alteration is presented in a visual way. Inspired by the artist Anthony Mccall’s Film installation, I discovered light’s magical power as an intangible form. His art work PARTIAL CONE explored the modulation of the surface of a projected beam of light, creating a range of surface qualities from solid. After my impression of this, for the last 2 years I have interpreted it in various tangible ways to keep eclectic between meaningful concepts and constructions for silhouette and details with a proportion for garments which are connected with and workable on a woman’s body. In Mccall’s work, solid-light could be interpreted as a remembrance of things(Light) past. For me, light is interpreted as the same as human’s memories. It can’t be kept and caught by hand, but could be operative and influential.
Perhaps, because a so-called ‘solid-light’ of light does not exist, it causes curiosity and the curiosity encourages me to dream. Illusion and admiration always stimulate me and they let me stand exactly on the border line and conflict on between real and ideal.
As the past depends on memories and the future belongs to imagination, both are experienced in thought as they do not exist in the present time and means ideal. We can’t live without either or both of them and they are connected each other. As Proust talked about the importance of the little things of the past, I am interpreting such a past and developing for future
For material, it is supposed to be focused on untypical things, to show contrast but also have a balance between the real and the ideal in an eclectic way. For example, plastic and vinyl as well as very natural things from nearby, like a farm yard and Tanaka (a sort of Felting) is supposed to work to see both characters of the fabrics. Especially, transparent plastic things would work for the atmosphere like shiny, delicate, fragile but having an exact shape so that it interprets the abstract into figurative.
Based on the past things and creating new objects, this theme should be about visual and conceptual fun, as LIGHT is central and needs to be upon the body. As it has been mentioned above, the material is supposed to be transparent and shiny but calm. For silhouette, it is quite exaggerated but partly fitted and attached to a body as if lying draped on a body.