Complete lacelightbox in situ. Photographs by Jayne Childs, thanks to Toby Britton for being my model.
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
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
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!
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
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.
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.
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
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