Targetti Lightart Award publication

 

As a light artist Tamar Frank (1974) works with sunlight as well as artificial light. Her work, which consists of a play in color, lines and fields, is of an abstract nature. Usually she makes installations for specific locations that react to the environment. Here elements of the architectural surroundings are emphasized but also broken down at times. In this manner an extra dimension is added to the location.

With some temporary projects Tamar works with more than just direct light obtained from lamps, but also with media that contain the property of either absorbing and/or reflecting light. Several times she created pieces where fluorescent threads were weaved into a space. In this way she established ‘Lightinstallation II’ (2003) in Moira Utrecht, a work where threads seemingly formed a web in which light could be captured. Between walls, floors and ceilings thin nylon threads were fastened at a short distance of each other which together formed as transparent walls of light. Where the horizontal and the vertical lines crossed each other more concentrated bundles of light appeared. The result was that the space seemed to contain more layers and different depths.

On other locations Tamar has worked with phosphorescent pigment which has the property of emitting its own light after having been exposed to a light source. This aspect was applied to the installation ‘Underground’ (2004) in the corridors of the former explosives cellar of Fort Ruigenhoek. The walls and ceilings were covered with phosphorescent pigment that glowed up in an eerie green light. It delivered an unreal experience; it was as if the walls were no longer real but a mirage that one could walk straight through. In the light art museum in Eindhoven Tamar also used this pigment for her installation ‘Spatial Transition II’ (2007). She applied a linear horizontal pattern to four symmetrical walls. After the pigment was exposed and the lamps were extinguished a completely different surrounding revealed itself. The glowing pigment lines defined a deeper space denying the existing walls. This optical deception was created through altering the vanishing point

Tamar manages to also surprise the viewer with the use of direct light. For a permanent installation in the elderly care centre Ave Maria (2007) she used amber colored led lights. Sunk into the ground a long light line traverses the terrain bending sharply where it’s path is obstructed giving a zigzag shape like a lightning flash. Effortlessly it crosses the building from outside, inside and vice a versa. Light once again seems to break through walls here. For the light art route Lumineus Amersfoort Tamar created the installation ‘Lightcirkel’ through working with reflection. Under an arched bridge she applied light lines with blue led lights. The mirror image in the water completed the line pattern forming a perfect circle. The darkness surrounding this blue light aura detaches the bridge from its surroundings and the viewer can imagine floating submerged in undefined space within this circle.

With lamps and filter foils, Tamar flushed the white ceiling in the church of Oldeberkoop in heavenly bleu and golden yellow for her installation ‘Lichtgewelf’. Through this addition in light the arch was newly defined and the depth was emphasized. Although Tamar often uses clear light lines and linear patterns, here she applied a subdued overflow in light and color. The light work by Tamar that has been submitted in the Targetti collection also has this diffuse character. Through different layers of foil an endless depth is suggested within a panel that is only 20 centimeters deep.

The light projects by Tamar Frank sometimes seem simple but the apparent minimal changes leave a big impression. Experiencing her work delivers an unforgettable spatial experience.

 

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