064 FOCUS
negotiate, and a belief in your concepts are key in both art and design territories.
So the starting point for every new piece of work is either a site visit if possible or an in-depth review of photos, videos or renders of the space (if I am not able to attend or travel, or if the site doesn’t physically exist yet). For a naturally-lit artwork, it is important for me to study the movement of sunlight throughout the day, seasons and year in order to foresee how the artwork proposed might change and affect the space.
Saturating a space with light and colour, illuminating and enveloping it, inevitability changes the viewer’s perception and emotional response to what they encounter, especially as the palette I choose is vibrant and therefore encourages positive associations with colour. I have suffered from anxiety and also Seasonal Affective Disorder for as long as I am aware and therefore know the importance of creating work that promotes and helps one’s well-being. Te world we live in is fast-paced and generally full of bad news, and so I believe it is crucial to put things
into the world that are joyful and help people forget the clamour of their everyday lives, even if just for a second. It is my artistic choice to use a strong, vibrant palette of colours because of my own personal preferences. It is a reflection of my personality and therefore, in essence, self-portraiture.
In the 15 years of research I have carried out into the science of light, colour theory and perception, I have found that both muted and strong colours have a positive impact on well-being. What is absolutely crucial is the way in which these colours are used and applied. Often I use muted tones to complement the richer hues, they help bring out the intensity of the more vibrant colours. I often use muted tones, such as greys and whites, for the colour of the structures or backdrops of my works. Tey allow the colours to sing and to be seen at the fore. I am fascinated by, and passionate about, the relationships between colours. Tis forms the backbone of my practice. Te exploration of colours, how they complement, mix and react to each other, forms many of
‘In the 15 years of research I have carried out into the science of light, colour theory and perception, I have found that both muted and strong colours have a positive impact on well-being’
Right When using coloured glass and transparent material, the movement of light and the changing of the seasons is an important aspect. Liz West’s awareness of this creates truly unique displays that change the viewer’s emotional perception of a space Installation: Pigment-injected polyester
Dimensions: 700 linear metres
Date: 2021–22
Below right Liz West’s work melds a range of colours and hues with solid materials in order to bring light and brightness to a space. This creates a dazzling aesthetic and reflects her own views on the importance of light as a stimulant for well-being
Installation: T8 fluorescent bulbs, cellulose gels
Dimensions: variable, this image shows 10,000 sq ft
Date: 2015
STEPHEN ILES
CHARLES EMERSON
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
