I’d kept some pages from British Vogue 1996, a shoot by British photographer Nick Knight, using high contrast, saturated colour and very dark shadows. In another of his shoots for Vogue from 2004, ‘Shimmer’, shadow is used as a frame for the model. This has informed a way of photographing textile samples and highlighting parts of a sample.
Alongside the use of darkness/light I am interested in ‘dark’ motifs or design themes such as skulls/bones or perhaps something shocking or unexpected in lace. See Jason Holroyd’s use of industrial motif in his laser cut lace designs ‘Missing Industry’ and ‘Class Dismissed’. See also the communist inspired designs of lace designer William Hallam Pegg held in the NTU lace archive.
Along with my other keywords:
- Negative space
- Embellished layers
- Darkness is the most important.
Real darkness can be difficult to find, especially in urban spaces, and particularly in places inhabited by the masses. In fact, darkness could be described as a luxury. ‘Darkness is a luxury not granted to Britain’s Council Estates’ (Sloane 2016).
Bright light will hide that which has a lower light level, which can only be seen through darkness. How many of us have been camping and gone outside in the middle of the night to answer the call, only to have our breath taken away by the amount and brightness of the stars? Dark Sky Parks have become a necessity for those wanting to see more than the largest and brightest of stars. According to Falchi et al (2016) 99% of the population of Europe and the US live with night-time light pollution.
Darkness can be as necessary as light for revealing texture. When items are lit from behind for example, the texture or real properties of the material will be difficult to perceive. Turn off the backlight and more can be seen. This can have a philosophical meaning too. In the discussion ‘Dark retreats and sensory deprivation’ Tenzin Wangyal describes Buddhist theory of how removing expectation of external light during a dark retreat, you see more of the ‘internal light’ of your soul.
Similarly, we can see how phosphorescent items are hidden until ‘normal’ light frequency is removed, leaving only the phosphors ‘glowing’ in the dark. Of course, this is a visual effect only. The phosphors glow all the time, we just cannot perceive them until the light conditions allow.
Do galleries find it challenging to exhibit items requiring darkness, resorting to displaying them behind a wall or curtain in order to exclude the light? Can the work hold the darkness within required to reveal hidden elements?
Pieces are usually illuminated in the direction of the viewer’s gaze, if they are lit from the back the detail can be lost. Could this effect be exploited to draw the viewer in to examine one detail, only to reveal another? What happens if intricate items are lit from behind instead? Or if the light is withdrawn as the viewer approaches. What does the darkness, or lack of light, reveal? I will explore layering to create shadow, hide or reveal texture and add richness to the design. Translucent fabrics can add sheen without weight and bring lightness to the design.