Viaggio di carta by Sofia Sita

Job Match by Sofia Sita

Brightly coloured illustrations with a comment on Society from Italian painter and graphic designer Sofia Sita.

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I was awarded a 30K commission from the National Media Museum in February 2015 to create an new artwork to be part of their Season of Light to celebrate the UNESCO International Year of Light. I wanted to create a field of saturated coloured light as an immersive light work using hundreds of fluorescent lights mirrored into infinity creating an additive mixture of light. Within my work I wanted to explore how hundreds of different coloured lights together would create an abundance of white light (scientifically named an additive mix), that glows with such intensity, that it lures visitors into explore the seemingly endless space.

From early in the planning and proposal stages I knew how I wanted the work to look, but I wanted to make sure I was using the most appropriate materials for the job. Hours were spent trawling the internet and learning about different types of mirrors and what they offer. The same applied to the lighting element – I received advice from experts in the field as I weighed up the pros and cons of using LED or fluorescent lights. After deciding to use fluorescent I then had to choose the right size, thickness and output – all this information was constantly being fed back to the exhibition designers in order for them to draw up detailed plans and to the museum so they could order the correct kit. Every decision at this stage had a huge impact on the project including the budget so needed to be carefully considered. This is when I felt the most pressure in the whole commission, I wanted to get it right first time around. Any indecision or mistake would have cost later down the line.

Choosing the different coloured filters which were to be placed within polycarbonate sleeves alongside a UV filter to stop colour fading over the duration of the exhibition was the most fun! I had a swatch book of over 300 colours and shades to select from, but I wanted to use the most vibrant and visible when put in front of a light source.

I started to make drawings of how I envisaged the installation to look. This not only occupied my hands, but it also allowed me to think out loud on paper about where to position the colours. These ‘maps’ allowed other people working on the project an insight into my mind’s eye.

I created a downsized maquette in my studio to test how the lights would interact with the mirrors. It was another attempt to paint a clear picture of my intentions for the final work to the designers and museum staff.

With only a few months to go until install, it was at this point that a lot of details about the work were being discussed. I would spend days and days glued to the phone making sure every eventuality and detail had been communicated to all parties and considered in the design before building began.

Working on such a major piece, I wanted every element to be perfect. Early in the commission process I knew that my construction skills weren’t good enough to build the installation to my desired spec so I consulted with the museum to bring on board external contractors to build and wire up the installation. In past works/exhibitions I have always worked closely with my team to build works in my studio or sometimes site specifically, so letting go of this element initially felt very strange, especially whilst my installation was under construction. The museum were in daily contact and digital images of the evolving work were being whizzed straight to my inbox for approval.

I came to install my part of the work right at the end after the builders and electricians had done their part. I was responsible for placing the coloured sleeves over the white fluorescent lamps in a certain order. In order to create white light from all colours in the spectrum the amount of each colour had to be equal in quantity and placed evenly and systematically across the space.

With each of the 250 fluorescent lamps being six feet long, I worked alongside the Project Management Support Assistant to install the coloured filters as they were too long for just one person to clip into the eight foot tall ceiling rig. From the outset, good levels of communication had to be maintained to ensure movement up and down the ladders in unison to install the lighting into the desired position. Periodically all the lights would be switched on to allow me to judge if what I had previously installed was working as I wanted it to.

I am delighted with the final outcome and happy that it looks as good as it did in my mind. Having translated my ideas to several parties (successfully), I feel that I have learnt so much from this commission process and how to project manage as well maintaining my position as lead artist.

Light Fantastic: Adventures in the Science of Light will be showing Liz’s light installation titled An Additive Mix at the National Media Museum from 18 July – 1 November 2015. Find out more about the exhibition here.

Read more about Liz and her collecting habits in Central Station’s Q&A here.

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Combining a love of music with a passion for colour, Predominant.ly is the brainchild of Netherlands design collective Open Work. It enables music discovery by selecting from the colour spectrum.

Find something that falls outwith your usual musical tastes and explore the site here.

See more projects by Open Work on Central Station here.

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Blank Canvas by Glasgow based photographer, Francis Smith whose colourful compositions caught our eye.

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Down and Out in Berlin with Otto Dix by Bristol based painter, Mark Hollis. Hollis works mostly with acrylics and has a keen interest in colour and composition.

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For 5 weeks during February and March 2013, Shaddock was artist in residence in Gallery 3 of Market Gallery, Duke Street, Glasgow. Helen used her blog as an online diary during the residency, tracking the development of her ideas and revealing the processes used to make the work. Here, Shaddock tells us about her residency and the resulting exhibition.

Several times a year, Market Gallery invites artists to apply to participate in its ‘Studio Projects’. This programme includes a four-week residency in one of Market’s gallery spaces and a resulting four week exhibition.

My proposal for the Studio Project was to conduct intensive research into colour and test the possibilities of combining controlled processes with chance elements when making work. I wanted to respond to the industrial nature of the gallery and make the most of the space, enabling me to work on a larger scale and experiment with the installation of work.

I specifically wanted to extend my work using plaster, polymer and pigments. I had previously used drainpipes as moulds to create column-like sculptures, but was keen to make my own moulds. The casting process is labour intensive and time consuming, but I was lucky enough to benefit from having a team of Market Gallery volunteers who kindly assisted me in the production of the work. This was a huge help, as someone could hold the mould while the other person poured the plaster. It also allowed me to work on a scale that I have never been able to achieve on my own. Some of the sculptures became so large that it took a team of four people to remove the cast from the mould!

I began by making funnel moulds from lino and dripping layers of different coloured plaster inside. I then poured more layers of different coloured plaster into the mould and rotated the funnel until the plaster covered the inside of the mould and set as a hollow sculpture. I repeated this numerous times until it was strong enough to remove from the mould.

I also made casts whereby I applied layers of different coloured plaster and then fully filled the lino moulds, leaving them to rest at an angle so as to create a less predictable shape.

I embraced the unexpected and allowed for chance elements within the process. Removing moulds from casts is exciting and can be quite nerve-wracking, particularly when I have invested a lot of time and resources into creating something that I do not know will work. When I took one of the sculptures out of its mould, I noticed that the pattern left on the lino was very interesting. In fact, I felt that this was more curious than the sculpture.

I am interested in the relationship between two-dimensions and three-dimensions and wanted to create a sheet of plaster that would be able to stand or be propped against a wall. I covered sheets of cardboard in parcel tape and then used a variety of techniques to coat the surface with layers of coloured plaster.

Conscious of the amount of floor based work that I was producing, I developed some wall-based works so as to make for a more interesting viewing experience. Referring back to the gallery space, I made a number of ‘object paintings’ the shape and size of the breezeblock walls.

I continued to use cardboard and parcel tape to make angular moulds, creating some unusual forms.

I had prepared some solid birch triangular shapes with plywood edges that could fit together and support each other. I played with the surface of the wood, leaving some faces bare so as to acknowledge the beauty of the wooden grain. I also poured different coloured plaster onto the surface that had a plywood boundary, and adopted an experimental screenprinting method using stencils on the reverse side. I assembled the pieces so that there would be surprise elements for the viewer when they walked around the form.

Over the duration of the residency I had produced a vast amount of work, and selecting what to include in the exhibition was a challenge. I wanted the installation of the exhibition to reveal signs of the production of the work, and did not want to present each piece as an autonomous object.

Overall the residency was an amazing experience and allowed me to produce work to a scale that I could not achieve in my studio. The public seemed to enjoy watching the development of the work as they passed the gallery each day, and I had some great chats with passersby who were intrigued by what I was doing. I am delighted with the work, and feel that there is real potential for further development.

I would like to thank the wonderful team of Market Gallery volunteers who assisted in the production of the work, the other artists exhibiting at Market Gallery, and the Market Gallery committee for their support and for helping make the residency such a positive experience.

The exhibition runs until 12 April and the gallery is open 11am – 5pm Thursday – Sunday.

This project is supported by Creative Scotland who awarded Helen Shaddock with Talent and Professional Development funding.

Where to find out more:
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windows in by Edinburgh College of Art photography student, Nadia Gabriel.

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Cadet by London based artist, George Winks.

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Christian by Glasgow based photographer, Martin D Barker.

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Rainy Day by Glasgow School of Art student, David Frew.

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