Light Box

I’ve been looking at ways in which I can display my work. Previously I’ve set up scenarios on top of plinths which have looked great but don’t give a sense of depth as there is no background other than the top of the plinth itself. I found this small shelf in the studio and spruced it up as a trial display system.

Using the models I have previously made I’ve placed them upon the shelf which now has a silver metallic base and a light green curved background. At this point I do not have colour changing LEDs installed however I do have different coloured bulbs that I have been able to interchange within the framework which gives some desirable effects.

Although looking good with a static light I feel that the subtle changing of light will achieve the aims I set out for myself. The changing of the light will allow me to change the structure and colours of the objects without changing the objects themselves. Augmenting the reality of the space inside the setup.


Work space.

I rearranged my workspace this weekend and tidied it up to make space for some of the small models I’ll be making thins week in preparation for my gap crit on Thursday. Previously I have played around with lighting but only in a dark room or space like in my previous gap crit. When rearranging my space I decided to light a few of the forms I have collected and made within my space as it stands in the bright studio space. 

The effect isn’t quite so dramatic at the effect you see when in a dark space but I deffinately think it is something to consider. As the studio lights are on a timer/motion sensor the lights turn off after a while and the difference between the colours of the shapes dramatically change. You wouldn’t think that the objects are infact the same from the first to the second. 

This links to ideas on colour discovered and put forward by Cevreul (More info). Simultaneous colour contrast, hue and luminosity.


Current Artists Statement

Artist’s statement – Eloise Barratt

In my work I aim to explore ideas surrounding colour and how in the west, colour is often viewed as a secondary quality under the primary quality of form. These ideas came to light when discovering contemporary artist David Batchelor and his book ‘Chromophobia’ highlighting attitudes towards colour in the west. Firstly colour is regarded as alien and therefore dangerous, often referred to as some sort of foreign body such as the infantile, the primitive, the kitsch, the feminine, the queer, the oriental and the pathological. Colour is seen as a fall from grace, similar to a fall or relapse into drug addiction where a psychedelic world takes over. Secondly, colour is regarded as a secondary quality of experience, and therefore unworthy for serious consideration as it has been relegated to the lowest level of the worlds hierarchy.

My work aims to bring colour out of the dangerous and the trivial, hopefully rendering colour within the realms of the sophisticated and the establishment which it is not currently considered. Using sophisticated scientific understanding on how the eye sees colour and experimentation in colour constancy, colour in contrast and light and dark, can create colours in the eye that are not necessarily true to reality.

I use both ready-made and mixed colours within my artwork alongside coloured light to create an interactive experience of colour.