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Light work in the depths (Underwater)---
Original-picture: my own - Coral in seewater aquarium
Woman picture - creative_commons
www.flickr.com/photos/torek/2820502171/in/pool-creative_c...
texture by parreeerica
www.flickr.com/photos/8078381@N03/2799035071/in/set-72157...
I am more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
Copenhagen Light Festival February 2021.
Installation description from copenhagenlightfestival.org/lightworks-2021/:
DICHROIC SPHERE
WHO: Jakob Kvist
WHERE: Træbryggen ved BLOX, 1473 København K
WHEN: From 6 – 8 am and again from 5 – 10.30 pm
ABOUT THE LIGHT WORK
Dichroic Sphere @ BLOX is a geodetic construction of wood with applied dichroic foil, that with the help of a single light bulb lights up the area around.
The special dichroic foil bends the light in colors depending on what angle and what time of the day it’s viewed. When combined with the geodetic wood construction the color pattern will be consistent no matter what angle it’s viewed from, which gives Dichroic Sphere @ BLOX a preternatural visual appearance.
Dichroic Sphere @ BLOX can be seen from a great distance where it lightens up the surroundings and casts a net of shadows from all around the piece of art.
ABOUT THE ARTIST
Jakob Kvist (1985), Lighting Designer
Jakob Kvist is an internationally renowned and awarded lighting designer, doing temporary and permanent multidisciplinary works in the field between art, design, architecture and performance. Jakob has previously been featured at Roskilde Festival, Trailerpark festival, Frost Festival, Copenhagen Light Festival, Strøm, Festival, Nikolaj Kunsthal, Roskilde Kommune, Helsingør Kommune, Helsingør Kommune, Københavns Kommune, Kulturby Aarhus and the Royal Danish Theatre. He’s been multidisciplinary projects with artist such as MØ, Phlake, Cph Phil, Den Sorte Skole, Bisse, When Saints Go Machine, WhoMadeWho and Mike Sheridan. Jakob was recently nominated for the Danish Lighting Award 2019 for the permanent exhibition Smartphonemania, was featured on the cover of renowned Roof Magazine in 2018, has been featured the in the book “Superlux, Smart Light Art, Design and Architecture for Cities”, and received “event of the year” 2014 from Politiken, for the multidisciplinary work Panorama at Tietgenkollegiet.
THANKS TO
Bryghuspladsen
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
1. 2021_365032 - Just Passing By,
5. 2021_365036 - Monarch's Way,
7. 2021_365038 - Blizzard Attempt,
8. 2021_365039 - Lightly Iced,
10. 2021_365041 - Imagine if the moon dripped ...,
11. 2021_365042 - Who's lookin' at you?,
12. 2021_365043 - Another of those moments,
13. 2021_365044 - Finding your place,
14. 2021_365045 - New perspective on time,
15. 2021_365046 - Old Money New Money,
16. 2021_365047 - No Children,
18. 2021_365049 - Departing Rain,
19. 2021_365050 - Yellow in the Grey,
20. 2021_365051 - Chance Encounter,
21. 2021_365052 - Church of the Good Shed,
22. 2021_365053 - Quick Session,
26. 2021_365057 - Chapter Twenty-Six,
This new stained glass window commission makes use of old salveged cathedral glass along with new Lamberts Reamy Danziger glass and simple flowing paint lines.
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
I hope everyone that celebrated / celebrates the 4th of July had a wonderful and safe one...'till next year!
anamorphic scene on Vimeo in HD:
Bausch & Lomb Cinemascope Adapter II
2x anamorphic for 35mm film theater projectors
Olympus PEN E-PM1 cam
lumix MFT to M mount adapter
Leica Summicron M DR f2 50mm lens
MJPEG encoding 720p HD
video unscoped and color graded using Lightworks Beta 11.1.1.l
--
Regina, Saskatchewan, Canada
anamorphic short film on Vimeo in HD:
Canon EOS 450D
Canon EF-S 18-55 IS
handheld
Canon PowerShot SX 150 IS version, 10 months before:
www.flickr.com/photos/54619221@N04/10840198236/in/photost...
We were fortunate to be able to have a joint session with Creyr Glas Lightworks and work with the incredible A. B.
Strobist
Two Westcott Ice Lights, camera left.
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Single long exposure light art, created in near darkness using my favourite pairing of the Ryus Lightworks modded torch and the www.lightpaintingbrushes.com black fiber optic brush.
Plus my new secret weapon for an added dimension.
Straight off the Sony to here. sooc.
Lots more of my work on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
minimal design viktor heit
lightworks – woodworks
Berlin
Light Line 400 cm
Installation Berlin-Kreuzberg
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
at the Whitechapel Gallery, exhibition of Keith Sonnier's Light Works.
www.whitechapelgallery.org/exhibitions/keith-sonnier-ligh...
Taken at the third Helsinki Flickr meetup which was arranged to Lux Helsinki 2013.
If you happen to live nearby Helsinki or you're coming to visit Helsinki, join us!
I am far more active on Instagram. If you like my work, and are on IG, please follow me at @s1price_lightworks. Thanks!
Made in Lland (Artist’s Statement)
My mind (Reason) says no, my Imagination screams “..and yes I said yes I will Yes."
Thus, I adopt the most famous utterance generated by my own race, the final words from James Joyce’s 'Ulysses', and pillage the masters of my adopted host (Vermeer, Van Gogh, and Rembrandt), hopefully combining Lyricism and Pragmatism, and generating an idea, and a plan, to reinvigorate the Silk Route between the City State of LLand and the People’s Republic of Ina.
By insinuating a note, written to himself in 1914, the Artist/Chess-master Marcel Duchamp, in a self-admonition, even - spawned a philosophy proffering the possibility of the Universal Equality of All Matter and Anti-Matter.
I am taken to a land of limitless possibilities and imaginative leaps, kaleidoscoping time and place, and choosing to ignore all boundaries. The note said simply:
“To use a Rembrandt as an ironing board”.
This pithy statement could lead to nihilistic despair or it could lead in the other direction entirely. I choose the latter.
"..perhaps it will be the task of an artist as detached from aesthetic preoccupations and as intent on the energetic as Marcel Duchamp, to reconcile art and the people."
Guillaume Apollinaire , Les Peintre Cubistes (published 1913).
This exhibition is the beginning of a foray into that realm, the notion of, through the prism of Duchamp’s statement, initially introducing that most impressive manifestation of the collective consciousness, China, to three of the most venerated Individuals of the Western (Dutch) Canon, through the commonplace vehicle of Duchamp’s ironing board.
‘Maid in Lland’ represents the first phase of this endeavour; the journey of developing Pragma and the Rembrandt board itself. The show collapses time and visualises the painting of the boards in Dafen, a township on the Chinese mainland totally devoted to the copying of European masterpieces.
The second and third phases, the Vermeer and Van Gogh boards, have already been developed over six years, in 4,000 images on the Internet. This body of work presented here has been drawn from that same source.
The ‘story’ is interwoven with personal details, of self-love recovered after a history of abuse; these chart an individuation process which has proceeded to the point where I can say, with confidence, that anything is possible.
If a pinch of spice or a tulip bulb could generate a ‘Golden Age’, then anything can - even a Duchamp ironing board. It is simply a matter of determined people, who believe this is possible, coming together and focussing on pushing it through - with some humour and beauty.
All of these ideas and works generated are copyright free, so that anyone can use any of it, without fear of litigation. I would be more than pleased, indebted even, if anyone can take any of these ideas further.
---------------
Royal Irish Academy
Ireland’s Academy for the Sciences and Humanities
Catherine Marshall
5 Saint Kevin’s Road
Portobello
Dublin 8
Reference: Billy Quinn
23 June 2009
To Whom It May Concern
I came to know the artist Billy Quinn and his work in 1995/6 when he returned from New York to do a residency at the Irish Museum of Modern Art where I was Head of Collections. I was impressed then, both by his work and by his commitment to social engagement through his art practice. I was equally impressed, as were my colleagues, by his knowledge of art history, literature and philosophy, which, along with his social commitment, provides a deep well of sources from which the conceptual underpinnings of his work derive. Later I had the pleasure of working with him more closely when the Museum purchased some of his work, and several exhibitions in Ireland, the United States and Finland included it.
Quinn is an Irish artist but his vision has never been limited by the constraints of life on a small island. He has chosen to work in New York, London, Berlin and Amsterdam, but his gaze encompasses artistic, political and religious events as far away as China and Afghanistan. Much of his work in the past decade has been digital and is disseminated through the internet, using this contemporary medium to comment on outmoded traditions of art making and the artmarket, on connoisseurship and elitism. He has a particular preference for Flickr because it is an egalitarian platform, which excludes nobody. Appropriation is seminal to his practice, and so it is entirely consistent that he now wants the opportunity to make artwork based on his own digital work, which in turn references Rembrandt, Vermeer, Van Gogh and Marcel Duchamp. His new project refers also to the work of Jeff Koons and Andy Warhol, as he searches for a painter to paint an ‘original’ Quinn/Rembrandt painting. He intends to travel to Dafen in China, where paintings are mass-produced, tantalisingly hand painted but entirely devoid of the aura traditionally associated with the hand of the artist. The project questions authorship, connoisseurship and notions of the elite art collector, since the painting and multiple hand-painted reproductions of it will be offered for sale as mass produced objects for consumption in key tourist locations in Amsterdam. The universality and circularity of this process is reminiscent also of the Dutch history of trade with the east, while the hand-painted reproductive process derives, similarly, from good 17th century practice.
The value of this new body of work lies in its scale and ambition. It transcends time and place and breaks down divisions between east and west, between fine art and popular culture. It questions the privileged position of the traditional collector and empowers those previously excluded. Above all it acknowledges the continuity of time and space, hero and follower, matter and idea and does so in a way that is accessible without diminishing its complexity. Like Baudrillard’s simulacrum it obliges the viewer to commit to a position in relation to the ‘reality’ of the work on every level.
From my previous knowledge of his career, as a working artist and as a successful doctoral candidate in Fine Art Practice, I have had reason to respect Billy Quinn’s professionalism and to admire the courage and perseverance with which he tackles his self-imposed tasks. He is not motivated by financial reward but would like to present his art in a very democratic public arena. He holds all ideas to be universal property and does not copyright his work focussing instead on notions of universal equality in a manner that is both beautiful and humourous. I very much hope that this project, his most exciting and ambitious to date, will meet with the support, financial and artistic, that it deserves.
Catherine Marshall
Co-Editor Vol V
Art and Architecture of Ireland
Royal Irish Academy
On secondment from the Irish Museum of Modern Art
----------------
Billy Quinn
william.quinn11@btinternet.com
Mobile Phone: 06 2734 6635
Education
1997-2000Professional Doctorate in Studio Practice, University of East London.
1980-82 B.A. Hons. Fine Art (Film), University of East London.
1973-74National College of Art and Design, Dublin. Foundation Course.
Solo Exhibitions
October 2007 Artist in Residence Studio Exhibition at M4 Gastatelier, Amsterdam
2002 March/April
Postcards From the Wedge (The Thick End),
The Fridge Gallery, London.
2000 More Life : Minor Wounds, The East London Gallery, London E13.
1999 Work in Progress, The East London Gallery, London E 13.
1998The Diet of Worms, The East London Gallery, London.13.
1998 Denial of Burial and Other External Crosses, Ko Raw Gallery, London
1998 Quinn's Da, The Temple Bar Gallery, Dublin.
1997 Traditional Family Values, Goldstrom Gallery, New York City.
1997The Icon Series, WWW.plexus.org/quinn/plague.
1996Traditional Family Values The Temple Bar Gallery, Dublin.
1994Traditional Family Values , Mindy Oh Gallery, Chicago IL
1994A Show of Hands, Andre Zarre Gallery, New York City.
1993A Plague of Angels, Mindy Oh Gallery, Chicago IL.
Group Exhibitions
Feb 2010 Bittersweet- Expressions of Love and Hate,
The Doswell gallery, West Cork
June30
-Aug 25, 06 Selfportraitr A Virtual show of images from Flickr.com
The Pace/MacGill Gallery, NYC
June 2005 Incantations. Nun’s Chapel, Douglas Street, Cork
June 2004 Mediators. Fordham Gallery, Princlet Street, London
Sept 2002-May 2003
Something Else. Touring group show, opening in Turku travelling
To Helsinki, Oulu, and Joensuu in Finland
April 2002-May 2002
Ierse Kunst Uit de Collectie van het Museum of Modern Art te Dublin
Stedelijk Museum, Aalst, Belgium
Nov 14 –April 2002.
Irish art Now: From the Poetic to the Political.
Touring show of American Institutions from The Irish Museum of
Modern Art (I.M.M.A.), curated by Declan Mc Gonagle.
Irish Museum of Modern Art, Dublin.
July 14-Sept 23, 2001.
Irish art Now , Chicago Cultural Centre, Chicago.
May 6-June 25, 2000.
Irish art Now, Pittsburg Centre for the Arts, Pittsburg.
Jan 3 - April 9, 2000.
Irish art Now , Art Gallery of Newfoundland and Labrador, St Johns.
Oct 3- Dec 12, 1999
Irish art Now , The Mc Mullan Museum of Art, Boston.
1999 4 Irish Artists, The Irish Club, Eaton Square, London.
1998Künstler für die Insel IV, Frankfurt am Main, Germany.
1998 Documenta USA, The Museum of Contemporary Art, Pontiac,
Michigan.
1997Recent Acquisitions: work in Focus, I.M.M.A., Dublin.
1997Juno Moneta: For Your Eyes Only, Mindy OH Gallery, New York City.
1996Out Art, City Arts Centre, Dublin.
1995Summer Group Show, Foster Goldstrom Gallery, New York City.
1994 Cultured Pearl, Mindy Oh Gallery, Chicago, IL.
1994 The Annex Show, Mindy Oh Gallery, The Chicago Art Fair, IL.
1994Animal, Mineral, Vegetable, Andre Zarre Gallery, New York City.
1994Homage to Camus, Mindy Oh Gallery, Chicago IL.
1994 Healing Before Art, Mary Ryan Gallery, New York City
1993 Saints and Survivors in a Time of Plague, Three person show Lowinsky
Gallery, New York City.
1992New Acquisitions Show, Lightworks, Syracuse, New York City.
Related Work
2000-2003Lecturing in Dublin, Cork and Galway (Ireland) and Turku (Finland) and Winchester College of Art on the PhD course.
1999-2000 Extensive lecturing on development of work practice relative to Doctoral
research.
Guest lecturer at Goldsmiths, Leeds, Exeter, Central St. Martins,
The Royal Academy of Stockholm, and Winchester College of Art
1998Part-time lecturer in Fine Art at the University of East London.
1996CURSAI, R.T.E. Irish national television programme.
Guest lecturer, University of Belfast.
1995 Black Box, R.T.E. Television arts programme.
Guest lecturer, National College of Art and Design, Dublin.
Guest lecturer, The Dublin Institute of Technology.
1993Guest lecturer, The Illinois Institute of Technology and The Art Institute
of Chicago.
Selected publications
Eroticism and Art. Alyce Mahon, Lecturer in the History of Art at the University of Cambridge and Fellow of Trinity College. Oxford University Press 2005
The Irish Museum of Modern Art: The Permanent Collection. Catherine Marshall 2005
Something Else: Irish Contemporary Art. Valerie Connor, Maija Koskinen and Declan Mc Gonagle, Turku Art Museum 2002
Irish Art Now: From the Poetic to the Political.. Declan Mc Gonagle, Fintan O’ Toole and Kim Levin, Merrell Holberton Publishers.
The Art of Aids, Robert Barker, Continuum Publishing, New York City.
CIRCA. The Magazine of the Irish Arts. An 8 page insert "work in progress" with Catherine Harper. The Spring issue 1997.
Residencies
November 2007- January 2008: Artist Residency at Foundation B.A.D. Rotterdam
August - October 2007: Artist Residency at M4 Gastatelier, Amsterdam
1997 Helsinki International Artist’s Project (HIAP), Finland
2 month residency Nov-Dec.
1995-96 Artist's Work Programme. Irish Museum Of Modern Art.
1992Lightwork, Artist-in-Residence program, Syracuse, New York State.
Grants
New Work Award 2006. The Irish Arts Council: €35,000
Collections
Irish Museum of Modern Art, Dublin.
The Jonathan Stiles Collection, Helsinki.
Steven F Foster Collection, London.
Peter Kabcenell Collection, New York City.
Mindy Oh Collection, Chicago.
Monique Goldstrom Collection, New York City.
Tim Peterson and Richard Gerrig Collection, New York City.
Carl Miller Collection, Boston.
City of Galveston Collection, Texas.
Lightwork Collection, Syracuse.
Bela Majoros Collection, Budapest.
Chantal Boisgontier Collection, Paris.
John McBratney Collection, Dublin.
Alexander Tinti Collection, Vienna.