light

philip beesley, orgone reef, 2003. e-art. montreal

james turrell, on photographs:

"we made this eye that sees for us, like the camera, and this is very much a part of how we organized our culture. of course it became this holder of truth. i mean in a court of law you take a photograph, and you can use it as evidence.

but, if you think about it there are many factors: first of all, where you point the camera, and whether you choose a lens that's a telephoto, which flattens the space, and sees through the distance, or a wide angle that sees a much wider area than we see. then there is the setting of the aperture. all may be in focus, or just see a part with the rest out of focus. do you choose to put in a film that represents light from the sun as white, tungsten light as white, or fluorescent light as white; or do you use color, or infrared? then, of course, you get this photo that you can change in development, and crop. then you can present this photo as "proof of reality," when every step of the way you've created the reality."

in my project lighting is important because it sets the atmosphere for the artists message. natural day lighting (like life on the streets) will be used strategically. at night or when artists are practicing for a night performance,  street lighting will be used, echoing the steet lamp patterns on the streets of graham ave. flood lights will be angled to capture and emphasive the movements of artists within the building. the shadows of the artists will be caste on walls and revealed to the outside viewer- displaying an artpiece in itself- the nature and methodical movement of practicing artists. the practice becomes life- the real deal, as do the shadows on the wall, as do the interpretations of these shadows by the outside audience.