Complete lacelightbox in situ. Photographs by Jayne Childs, thanks to Toby Britton for being my model.
Desaturated version of previous image showing the clarity of the laser cut shadows
Not so close up shows the shadows of laser and text embroidery
Bobbinet and text shadows
Bobbinet shadow, varying size reflects the ripples in the fabric
Mixed shadows
Mixed shadows
Mixed shadows
mixed shadows
Laser and bobbinet shadow
Text and bobbinet shadow
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Close up photographs of the lacelightbox reveal the play of shadow through the lasercut, text and bobbinet (Click on the gallery to read captions) Below, final images of the small lacelightbox and the large lacelightbox in situ and different light levels
Close up of the small lacelightbox through the frosted perspex
Close up of the frame edge. The frame is made from beech ply, and was beautifully crafted by customwoodwork design in Cotgrave
You can see the three elements of the lace layout in this image. l-r is the Charnia embrodiery on net, text as brides layered with charnia motif lace, text embroidery
I tried to get a sense of scale by leaving in the power outlet here, it’s not the best photo! The small lacelightbox attaches to the wall using a french cleat, just like the large lightbox
Love this flame orange part of the light colour sequence
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The text as picot layer is embroidered with phosphorescent thread, so really comes into it’s own after the internal lights are turned off.
The text as picot layer is embroidered with phosphorescent thread, but doesn’t need complete darkness for the glow to start
The text as picot layer glows in the dark but performs as well as any thread when the internal LEDs are switched on. The shadows are intense
Trying to capture the depth of the lacelightbox, at 175mm deep
Trying to capture the depth of the lacelightbox, at 175mm deep
Trying to capture the size and shape of the lacelightbox
I’ve been exhibiting in Karlsruhe, Germany for almost ten years now. I was invited to join a group exhibition by the GEDOK group in summer 2019. I showed two new lampshade designs, incorporating my laser cut design and LED lights. You can see the lampshades in the gallery below
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The blue version had a holographic insert which distorted the lights inside, the gold was simply cut silk. This, combined with a large filament lightbulb, was really eyecatching. I found it distracting that you could see the inside, so if I were to repeat the design I would bond silk to both sides of the stiffening.
The blue lampshade twinkled (see the video below)
I was supposed to travel to Karlsruhe with the work and install it myself. However, I didn’t make it to Germany as my Mum had a stroke the weekend before I was due to leave. I decided to stay at home with her instead. Luckily my fellow artists were up for a challenge and put the whole display together for me. It meant I had to design some step by step instructions for putting the light together. They did a fantastic job!
The lampshades on exhibition in Karlsruhe July 2019, image supplied by GEDOK Karlsruhe
I used the waste from the laser cut to make a wall art piece. See the gallery below for more information on how it worked
Using laser cut waste, a simple idea to use pieces of silk waste from the lampshade
The silk has a variety of inherent shading, due to light reflecting on the fabric grain
Everyone loves it!
The pieces create shadows when lit from the side
Using waste from my large silk lampshade, pinned into foamboard.
If you have seen the film Arrival (2016), based on a short story by Ted Chiang and directed by Denis Villenueve, you will understand the boundary or border between the visitors and the people communicating with them. They wrote or drew their communications onto the border. The human protagonists were concerned with interpreting the communication. My light box experiments in 2019 put me in mind of the glyphs written on that border.
Arrival (2016)
You can see in the video below, I planned to make some kind of light installation, probably freestanding, for my second year. I planned to include colour and movement to the light and experimented with how big I could go, and how much distance between light and polypropylene.
Jayne Childs: MA Lighting sample 2019
I also used the laser cutter to engrave the front of the poly to see what that looks like (nice, as it turns out, but no effect on the refraction). I liked that you can see some kind of pattern, even with the light off.
During late Spring 2019, I tried new ways of using lace and light in a way that satisfied some of my key words and followed my initial investigations into darkness and shadow.
I bought a wall mounted LED light box (think late night kebab shop illuminated menu board) to explore layering and shadow with a more controlled light source. I got very excited when I first set it up, hoping that lighting the lace from behind would reveal new ideas and shapes. To diffuse the lights I got some frosted polypropylene from Bonington shop and decided I wanted to have it curved. I draped some lace in front of it…
IT DID NOT LOOK GOOD...
I was SO disappointed. But I decided to try the lace behind the plastic. It blew my mind
Experiments with light and shadow
The centre image shows the lace in front and behind. You can see that the lace behind the frosting is refracted and has an almost digital quality. As you move your perspective, you see the image break and almost glitch
Video shows laser cut lace behind polypropylene sheet