This was a solo exhibition in the Moira which ran from 26th of januari till 23rd of februari 2003. I had made two light installations which were both built with 0.25 mm. nylon fishing lines. The base of the idea was to concentrate on the windows within the space so I had measured out and scaled the construction of the design from there. I cut into the space with horizontal and vertical lines, using the square as the core and focal centre. One installation consisted of two squares that formed a tunnel towards each window.
The other installation was a three dimensional square floating in the exact centre of the space. All threads were equally spaced two centimeters apart from each other. The two installations made a visual connection through a square hole that I had made in the wall dividing these two. This enabled the viewer to look straight into the core of the three dimensional square on one side.
During the day the installation would fluctuate with the condition weather, one moment being lit up by the sun and then disappearing again as it clouded over. Also as the day progressed the position of the sun would move lighting up different angles. Similarly the movement of the viewer also influenced the visible and invisible. At night the installations were lit up by blacklight, bringing out the fluorescent yellow colour. They could be observed through the windows by passers-by. It took two weeks to build with the help of four assistants.
'The world is what we see and...nonetheless, we must learn to see it - first in the sense that we must match this vision with knowledge, take possession of it, say that what we and what seeing are, act therefore as if we knew nothing about it, as if we still had everything to learn.'
from: Maurice Merleau-Ponty, The visible and the Invisible, Evanston, 1968
Light, the thread that leads us to the visual world. how are we aware of this phenomena that carries our visual experience? Perhaps around this time of the year, during the dark days, people can sense a longing. Short days, little sunlight and the festivities now left behind us. For those who can no longer bear the winter, Moira offers the alternative: with light. Tamar Frank, who finished art school in Maastricht 1997, works with light only. She observes spaces and surroundings and reacts on these by making subtle changes on the existing situation. Light (day an artificial) are the carrier for leading and laying out focus points that emphasize elements specific to the environment. Through this medium she is analysing how our visual abilities work and how quickly we can adapt. Where lies the border between the tangible visual world and the ungraspable? What are we capable of observing and how does this influence out total visual orientation? In the Moira, the artist will be constructing an installation consisting of hundreds of nylon threads that reconstruct the space. From different perspectives the threads can melt together to form a screen and to disappear again shortly after. It is a game of looking through from the inside to the outside and vice-a-versa. By day the installation is best seen from the inside. At dusk, artificial light will take over and shine towards the street.