The Gallery of Contemporary Textile Artists
Tamar Frank
Netherlands
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Artist's Statement
I work with light, space and the process of visual perception. Here I respond to existing spaces and environments and look at elements that are specific to the location. With minimal changes I relay focus and concentration redefining and analyzing the visual world. I try to capture a source that creates a heightened sense on how we see and how this affects us. The spectator plays an active role in discovering the work as it reveals its self. Sensing the space and how light influences our orientation is part of the process that brings the viewer to a new visual awareness. It is important to submit to my installations and take the time to process and experience it. At a first glance it is likely that nothing substantial can be seen. The eye needs time to adjust.
I often make installations on location which are temporary. Every space and environment brings new ideas and requires an approach specific to the site. Deciding on what materials to use is partially drawn from experience but remains intuitive. Materials used can be foil, Plexiglas, textile, pigment, thread, smoke, water. Basically anything that captures reflects and disperses light. The source can vary from sunlight to LED from laser to tube light. At first my installations were just static but over the last years I have also been inserting dynamics which are either preprogrammed or activated by the movement of the spectator. This has led to creating a series of installations which completely separates the viewer from reality into a cocoon where existing beacons of orientation are defied. When all we recognize is gone we need to re-adapt our orientation. As Maurice Merleau-Ponty states: "The world is what we see and nonetheless... we must learn to see it" (from The Visible and Invisible)Download Artist's biography || Download Artist's CV
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Artist's Statement
I work with light, space and the process of visual perception. Here I respond to existing spaces and environments and look at elements that are specific to the location. With minimal changes I relay focus and concentration redefining and analyzing the visual world. I try to capture a source that creates a heightened sense on how we see and how this affects us. The spectator plays an active role in discovering the work as it reveals its self. Sensing the space and how light influences our orientation is part of the process that brings the viewer to a new visual awareness. It is important to submit to my installations and take the time to process and experience it. At a first glance it is likely that nothing substantial can be seen. The eye needs time to adjust.
I often make installations on location which are temporary. Every space and environment brings new ideas and requires an approach specific to the site. Deciding on what materials to use is partially drawn from experience but remains intuitive. Materials used can be foil, Plexiglas, textile, pigment, thread, smoke, water. Basically anything that captures reflects and disperses light. The source can vary from sunlight to LED from laser to tube light. At first my installations were just static but over the last years I have also been inserting dynamics which are either preprogrammed or activated by the movement of the spectator. This has led to creating a series of installations which completely separates the viewer from reality into a cocoon where existing beacons of orientation are defied. When all we recognize is gone we need to re-adapt our orientation. As Maurice Merleau-Ponty states: "The world is what we see and nonetheless... we must learn to see it" (from The Visible and Invisible)Download Artist's biography || Download Artist's CV
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Artist's Statement
I work with light, space and the process of visual perception. Here I respond to existing spaces and environments and look at elements that are specific to the location. With minimal changes I relay focus and concentration redefining and analyzing the visual world. I try to capture a source that creates a heightened sense on how we see and how this affects us. The spectator plays an active role in discovering the work as it reveals its self. Sensing the space and how light influences our orientation is part of the process that brings the viewer to a new visual awareness. It is important to submit to my installations and take the time to process and experience it. At a first glance it is likely that nothing substantial can be seen. The eye needs time to adjust.
I often make installations on location which are temporary. Every space and environment brings new ideas and requires an approach specific to the site. Deciding on what materials to use is partially drawn from experience but remains intuitive. Materials used can be foil, Plexiglas, textile, pigment, thread, smoke, water. Basically anything that captures reflects and disperses light. The source can vary from sunlight to LED from laser to tube light. At first my installations were just static but over the last years I have also been inserting dynamics which are either preprogrammed or activated by the movement of the spectator. This has led to creating a series of installations which completely separates the viewer from reality into a cocoon where existing beacons of orientation are defied. When all we recognize is gone we need to re-adapt our orientation. As Maurice Merleau-Ponty states: "The world is what we see and nonetheless... we must learn to see it" (from The Visible and Invisible)Download Artist's biography || Download Artist's CV
-
Artist's Statement
I work with light, space and the process of visual perception. Here I respond to existing spaces and environments and look at elements that are specific to the location. With minimal changes I relay focus and concentration redefining and analyzing the visual world. I try to capture a source that creates a heightened sense on how we see and how this affects us. The spectator plays an active role in discovering the work as it reveals its self. Sensing the space and how light influences our orientation is part of the process that brings the viewer to a new visual awareness. It is important to submit to my installations and take the time to process and experience it. At a first glance it is likely that nothing substantial can be seen. The eye needs time to adjust.
I often make installations on location which are temporary. Every space and environment brings new ideas and requires an approach specific to the site. Deciding on what materials to use is partially drawn from experience but remains intuitive. Materials used can be foil, Plexiglas, textile, pigment, thread, smoke, water. Basically anything that captures reflects and disperses light. The source can vary from sunlight to LED from laser to tube light. At first my installations were just static but over the last years I have also been inserting dynamics which are either preprogrammed or activated by the movement of the spectator. This has led to creating a series of installations which completely separates the viewer from reality into a cocoon where existing beacons of orientation are defied. When all we recognize is gone we need to re-adapt our orientation. As Maurice Merleau-Ponty states: "The world is what we see and nonetheless... we must learn to see it" (from The Visible and Invisible)Download Artist's biography || Download Artist's CV
-
Artist's Statement
I work with light, space and the process of visual perception. Here I respond to existing spaces and environments and look at elements that are specific to the location. With minimal changes I relay focus and concentration redefining and analyzing the visual world. I try to capture a source that creates a heightened sense on how we see and how this affects us. The spectator plays an active role in discovering the work as it reveals its self. Sensing the space and how light influences our orientation is part of the process that brings the viewer to a new visual awareness. It is important to submit to my installations and take the time to process and experience it. At a first glance it is likely that nothing substantial can be seen. The eye needs time to adjust.
I often make installations on location which are temporary. Every space and environment brings new ideas and requires an approach specific to the site. Deciding on what materials to use is partially drawn from experience but remains intuitive. Materials used can be foil, Plexiglas, textile, pigment, thread, smoke, water. Basically anything that captures reflects and disperses light. The source can vary from sunlight to LED from laser to tube light. At first my installations were just static but over the last years I have also been inserting dynamics which are either preprogrammed or activated by the movement of the spectator. This has led to creating a series of installations which completely separates the viewer from reality into a cocoon where existing beacons of orientation are defied. When all we recognize is gone we need to re-adapt our orientation. As Maurice Merleau-Ponty states: "The world is what we see and nonetheless... we must learn to see it" (from The Visible and Invisible)Download Artist's biography || Download Artist's CV
-
Artist's Statement
I work with light, space and the process of visual perception. Here I respond to existing spaces and environments and look at elements that are specific to the location. With minimal changes I relay focus and concentration redefining and analyzing the visual world. I try to capture a source that creates a heightened sense on how we see and how this affects us. The spectator plays an active role in discovering the work as it reveals its self. Sensing the space and how light influences our orientation is part of the process that brings the viewer to a new visual awareness. It is important to submit to my installations and take the time to process and experience it. At a first glance it is likely that nothing substantial can be seen. The eye needs time to adjust.
I often make installations on location which are temporary. Every space and environment brings new ideas and requires an approach specific to the site. Deciding on what materials to use is partially drawn from experience but remains intuitive. Materials used can be foil, Plexiglas, textile, pigment, thread, smoke, water. Basically anything that captures reflects and disperses light. The source can vary from sunlight to LED from laser to tube light. At first my installations were just static but over the last years I have also been inserting dynamics which are either preprogrammed or activated by the movement of the spectator. This has led to creating a series of installations which completely separates the viewer from reality into a cocoon where existing beacons of orientation are defied. When all we recognize is gone we need to re-adapt our orientation. As Maurice Merleau-Ponty states: "The world is what we see and nonetheless... we must learn to see it" (from The Visible and Invisible)Download Artist's biography || Download Artist's CV
Contact Details:
W: www.lightspace.org
