SHOP: NEW IDEAS OF FUNCTIONAL AND DECORATIVE LIGHTING
WS2811 5050 SMD RGB Strip Addressable 30/48/60/96/144leds/m Led Pixels External 1 Ic Control 3 Leds Normal/Bright 5m DC12V-BTF-LIGHTING Official StoreBy Mr.LIGHT
Product: Color: White 5m 60 IP30
By Robert Lights ✌
Towns and cities are increasingly making a mark for themselves with the targeted use of feature lighting. In addition to classical street and area lighting, ways of using illumination to specifically showcase certain places is being increasingly adopted. A creatively-lit park, a sharply illuminated monument, effective facade projection – purposeful and careful use of such elements contributes not only to creating a distinctive ambience, but also an atmosphere that makes people feel comfortable and excited. The new FLC230 LED profile projectors from WE-EF are the perfect instruments for realising such powerful lighting effects in public spaces.
The FLC230 LED profile projector is also available as a colour changer, offering infinitely variable RGBW colour mixing, as it can render almost every shade of the colour spectrum. The profile projector comprises a spherical/triple flat convex lens system for producing a parallel light beam. The FLC230 LED profile projector and the colour-changer variant are available either as a zoom-spot projector [ZP] for producing sharply defined circles of light, a frame projector [FP] for illuminating polygon surfaces or as a gobo projector [GP] for projecting gobos onto a surface. The FLC230-CC LED profile projectors also come with a DMX interface as standard.
Anthony James’ work takes up the concepts of the universal and transcendental in order to demonstrate the impossibility of their representation. The historical cosmology of Plato is a primary inspiration, both for the sculptures of icosahedrons and for the silhouette of Baroque architect Francesco Borromini’s dome for Sant’Ivo in Rome. Colorful rings of neon nod to the ancient concept of the universe as a set of concentric planetary orbits. The effect is both esoteric and industrial, orphic and distinctly concrete. Modern art historical references abound as well – Bruce Nauman, Ellsworth Kelly, Minimalism – but the artist’s attention is on the wonderment and possibility presented by distant ideals.
The neon spectrum works that provide the title for James’ exhibition are particularly poignant in the tension between references, effects, and materials. The Absolute Zero works are meticulously calibrated spectra of colored neon tubes arranged in concentric circles to evoke the radiance of sacred enlightenment. The hue and intensity of the colors are designed to create white light. The historical references here span empirical experimentation with prisms to the image, across cultures, of the universe-wheel. Neon is already in our time a somewhat outworn material and the visible wires and plugs that trail from the vibrant rings interrupt any illusions of transcendence. This is the paradox that James’ objects show, a formal certainty and perspicuity (exact symmetry, white light, accurate shape) that registers a loss of purity or autonomy or wholeness. His works illustrate ideals, but they themselves are very contingent and actual, particular, not universal: they are for today.