This page contains a Flash digital edition of a book.
114


LIGHT ART / VIVID SYDNEY, AUSTRALIA


Clockwise from top left Passage to Happiness – Sun Yu-li (Singapore); Underbrella - Jorden Martin and Anna Meister (Australia); Palette of Urban Green - HY William Chan (Australia); Sea Grass – Kathryn Clifton and Martin Bevz (Australia).


simple yet beautiful,” says Chan. “Timber pallets were used to resemble tree-like structures spiralling up from the earth into city high-rises alive with light.” Energy-ef- ficient LEDs within the stacks were trig- gered by Steinel Professional high-frequency sensors. These could be concealed in each sculpture thanks to its unique ability to detect through wood. Argyle in Bloom by Mark Hammer and Andre Kecskes created giant floral forms in the Argyle Street tunnel. “We had both used Philips Selecon products before but wanted to use their latest profile fixture range the SPX in an outdoor installation,” says Hammer. “The output and optics of these fixtures gave us possibilities of richer colour and higher detail quality for our gobos. And after showing the Philips people our lighting test they were happy to support us with our design. Gobotech was the local gobo manufacturer that supported us with


a range of glass gobos including full colour technology and optical refinements. Then Andre’s company, Creative Lighting and Au- dio set the whole thing together with crew, hardware, and dimmers including custom made rigging and security surrounds for the lighting trusses.” The Bibigloo by French artist BIBI (aka Fabrice Cahoreau) was first commissioned for the Wirksworth Festival in the UK in 2010. Recycled red plastic cans are used to create a replacement for the igloo after global warming makes a traditional ice structure impossible. The piece is illumi- nated by CFL lamps and fairy lights. Cumulus is Ruth McDermott and Ben Baxter’s nod to the festival’s history of rainy weather. “Each year in Vivid Sydney it has rained or been stormy at some stage: we would see fluffy cumulus clouds get angry and foreboding,” they explain. “We tried to create a cloud that celebrated all the


different light during the day - the pale, delicate colours of sunrise, a possible storm during the day and the rich tequila colours of sunset. In the back of our mind is the increasingly unsettled weather around the world.” Cumulus is made from Perforated Aluminium - the metal acting as a reflector, enhancing the light. The perforations allowed light through and also broke up any glare effects from the LEDS. The cloud is 3m long and 2m wide. Illumination comes from 50 Philips individually addressable LED nodes nodes. The LEDS were mounted within the matrix of the cloud. Planning for Vivid Sydney 2013 is already underway and the organisers will be open to expressions of interest from this Septem- ber. International lighting, engineering and design individuals and teams for all festival light sculptures and installations. www.vividsydney.com


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168