La Poussière de soleils (Dust of Suns)
In the semicircular conservatory is a tall standing sculpture. It’s called La Poussière de Soleils, the Dust of Suns. On its back are tubes full of murky amber fluid; sunlight that has yet to be illuminated, still yet to set fire. Its façade comprises three hexagonal panels filled with a magical alchemical solution of la poussière de soleils, of the artist’s own invention. Each appears filled with thick golden sunshine. The bubbles blown through them leave trails of light even brighter and more golden; like trails of light torn through the heavens, like pools of shooting stars.

Sun and Moon Room
Sun and Moon Room in the Art Museum of Nature and Human Non-Homogeneity, located in Bungotakada City, Oita, houses one of the interactive art installations designed to extend one’s physicality in contact with the nature. The concept of this work is a room where visitors can play with sunlight. As visitors walk through the room, small apertures on the ceiling automatically open and close, following their movements. The aperture system is designed to envelop the visitors’ bodies in light and to change the shape of the light cast at their feet, mimicking the waxing and waning of the moon. Visitors’ movements are detected by sensors, which trigger to open only the apertures located in the direction of the sun. The room is controlled to create an interior condition that represents the weather of the moment using a program for analyzing live data released by the Japan Meteorological Agency.

Kit Básico
FILE FESTIVAL
The strategy is basically to oppose the residual imaginary, a series of light signals, wherein the video plays at being a future that reality look, using sunlight and smoke signals as a flexible margin of the latter where we will be in. There is a performance based on first calculating an escape, rejecting to be installed in the final place in our economic diaspora.

Squint
file festival
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.

Enlightenment Capsule
“Enlightenment Capsule, which featured a rainbow-colored acrylic lotus blossom set within a space-age capsule illuminated by sunlight. …Enlightenment Capsule blends traditional symbolism with futuristic elements.” Katrina Klaasmeyer

Solar Sinter
In this experiment sunlight and sand are used as raw energy and material to produce glass objects using a 3D printing process, that combines natural energy and material with high-tech production technology. Solar-sintering aims to raise questions about the future of manufacturing and triggers dreams of the full utilization of the production potential of the world’s most efficient energy resource – the sun. Whilst not providing definitive answers, this experiment aims to provide a point of departure for fresh thinking.

Solar Pink Pong
file festival
Solar Pink Pong” is a hybrid of street and video game. Players of this game can interact with an animated pink sunlight reflection on the street using their bodies and shadows. The device that makes this game possible can be mounted on utility poles or building sides.

Halo
99 robotic mirrors continuously move throughout the day to follow the sun like sunflowers. These mirrors, arrayed across two 5 meter tall towers and one 15 meter long track, each emit a beam of sunlight into a cloud of water mist. The beams are computationally aligned so that together they draw a bright circle in the air. Dependent entirely on the presence of the sun for its completion, the work explores the possibilities and limitations of technology to capture what is out of reach, to harness nature and bring the sun down to earth. Collaborating with the natural fluctuations in the climate, Halo appears only for moments when the wind, sun, water, and technology coincide, creating a form which exists between the material and immaterial.

Contact
Light from a window behind the work dapples sculptural waves with pockets of sunlight, making it appear as if it is actually rippling before your eyes. If it wasn’t for the walls that contain the deep blue piece, one might assume they’ve created a real wave machine inside the Mori Art Museum where the work is currently installed.

SOUND of LIGHT

SOUND of LIGHT is a synesthetic sculpture which interprets and dynamically transforms sunlight into audio frequencies. It is a site specific installation designed for the former music pavilion in Hamm, Germany, which was built in 1912.

梅拉妮·柏娜桥
Nocturnal Gardening
Photographs of painted people, tinted by sunlight flooding in through colorful tissue paper, are interspersed with delicate ferns and towering bamboo sticks. A lithium drone within the gallery’s white walls is broken up by Night Soil – Fake Paradise, an experimental documentary film by Melanie Bonajo in which women from Brooklyn candidly discussion their deeply personal experiences with ayahuasca. Some of the revelations are blissful and mystic while others turn completely horrifying, melting the psyche down into utterly submissive goo — Bonajo’s way of reminding us of the immeasurable power of psychedelic substances.

Soft Spin
Soft Spin is a public art project which also featured a performance intervention, in the style of “flash mobs”. Colour, texture, movement, and decidedly flirtatious forms invite visitors to look up and embrace the unexpected, highlighting the ever-present potential for encounters with unforeseen pleasure and drama in the day-to-day. From the possibility of feeling miniaturized by the enormity of the installation’s curvaceous hemlines to the play of sunlight through the bursts of spring-time colour, Soft Spin steps away from legers, straight lines, and the black and white. The clean, engineered certainty of corporate grandeur is infused with an immersive dose of the whimsical, the feminine, and the celebratory.

Canoe
The work here in Dawson is like an old vehicle in which I’ve put a new engine. Entitled Canoe, it consists of an approximately 20 foot long trough of water, that resembles some kind of boat. This provides a means for a gunwales tracking mechanism to slowly, endlessly paddle its way back and forth. It was first constructed in 2001 in a studio beside Halifax harbour. It draws visual inspiration from the bridges and water vessels of this port. Conceptually, it grew from an interest in technological obsolescence: how things (like canoes) make shifts from utility to leisure.
It has experienced several major rebuilds since 2001. Most of them have been practical, but for Dawson I’ve opted for an experimental configuration that changes significantly the nature of the work. Previously, Canoe has only ever been shown indoors. Normally in runs on rechargeable batteries, with a continuous, smooth motion. In Dawson, it is shown outdoors, alongside the Yukon river, showing up in an absurd way the paleness of its artificial river. Here, the primary source of power is sunlight.
Making use of the long northern day, solar panels receive light, storing energy in an array of super-capacitor cells. At this time, Canoe remains still. A custom circuit monitors the amount of charge, and when a predetermined trigger point is reached, it is dumped into Canoe’s electric motor in a burst, allowing it to make a few strokes. Then Canoe rests, while the charging cycle begins again. Motion is intermittent, entirely dependent on the amount and intensity of sunlight. It ranges from near standstill in overcast conditions to perhaps 1 or 2 strokes every minute in full light. The technical term for this type of circuit is a relaxation oscillator. I like this term because, if you remove it from its technical context, it points back to ideas about leisure and utility.

PHOTOPHON

photophon #1 is an installation based on intensive acoustic research of the photoacoustic effect. The photoacoustic effect is based on the phenomena of radiant energy. A strong light source can be converted into a sound wave due to absorption and thermal excitation. This causes sound waves due to pressure variations. The photoacoustic effect was discovered in the 19th by Alexander Graham Bell. He then used candlelight, sunlight, and the first forms of electricity in order to amplify sound.

피터 웨 그너
ピーターウェグナー
Питер Вегнер
Guillotine of Sunlight, Guillotine of Shade

peau d’ane
For Montreal-based designer Valerie Lamontagne, the spark of creativity can come from the most unlikely of sources. In the case of her climate-reactive dresses, Lamontagne found inspiration in “Peau d’Âne,” a French fairy tale that begins with a king’s vow to remarry only when he finds a woman who equals his late queen’s beauty and virtue. Pressed to find a new wife, he concludes that his daughter alone qualifies. (Quel scandale!) The princess delays the wedding by demanding impossible prenuptial gifts, including three dresses made from moonbeams, sunlight, and the sky. Lamontagne recreates these fantastic gowns but with a high-tech twist: Each dress reacts—in real time—to changing weather conditions.

Cénotaphe à Newton

Boullée promoted the idea of making architecture expressive of its purpose, a doctrine that his detractors termed architecture parlante (“talking architecture”), which was an essential element in Beaux-Arts architectural training in the later 19th century. His style was most notably exemplified in his proposal for a cenotaph (a funerary monument celebrating a figure interred elsewhere) for the English scientist Isaac Newton, who 50 years after his death became a symbol of Enlightenment ideas. The building itself was a 150 m (500 ft) tall sphere, taller than the Great Pyramids of Giza, encompassed by two large barriers circled by hundreds of cypress trees. The massive and spheric shape of the building was inspired by Boullée’s own study called “theory of bodies” where he claims that the most beautiful and perfect natural body is the sphere, which is the most prominent element of the Newton Memorial. Though the structure was never built, Boullée had many ink and wash drawings engraved and circulated widely in the professional circles in 1784. The small sarcophagus for Newton is placed at the lower pole of the sphere. The design of the memorial is intended to create the effect of day and night. The night effect occurs when the sarcophagus is illuminated by the sunlight coming through the holes in the vaulting, giving the illusion of stars in the night sky. The day effect is an armillary sphere hanging in the center that gives off a mysterious glow. Thus, the use of light in the building’s design causes the building’s interior to change its appearance.