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.

More: Website | Blog | Behance | Facebook | Twitter

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Yellow Chamber 1 (detail)

Looking back at your GSA Degree Show 07, the use of colour using mirrors and objects to create a wonderful glowing yellow impact is still so memorable. Why do you think colour has such a strong psychological effect upon a viewer?
The psychological effect of each colour often varies depending on peoples interpretation of each colour. Colour can evoke memories that are personal to each viewer. I want to provoke a sensory response that is unique to each person who views my work dependent on their own experiences of that colour. However I think that with my work there is often an immediate response to the intensity of the colour used. Colour is powerful. It can trigger many different reactions, and it is this that I enjoy creating and witnessing. I am removing outside elements that interfere with people’s preconceptions of colour, allowing them to experience refined colours in its raw state.

You started collecting Spice Girls memorabilia at a very young age of 12  and have recently had two exhibitions. Do you still see this as part of your art practice or as an intrinsic natural element of your character?
I have been collecting Spice Girls memorabilia and costume for 16 years, I started because I was young, impressionable and desperately wanted something to follow as a fan. Now I realise that it was not their songs, but instead their colourful image that I was attracted by as a 12 year old. Exhibiting and curating exhibitions of my collection at national museums gives me great experience and earns me a living; allowing me to work full-time as an artist. I try and keep my Spice Girls collection and the collecting of coloured objects that feature in my art practice separate at all times. Collecting is an intrinsic element of my character… I will always do it and my friends will always know me for it.

The vast size of your Spice Girls collection is overwhelming, where do you keep it all?
The whole collection is all packed away in a secret storage location. There is no clue from looking round my house that I am a Spice Girls collector, other than my Guinness World Record certificate (for having the largest collection in the world) being tucked under my bed – you’d have to search for it though!

Trolley Project

For your Trolley project, did you get some questioning looks from passersby with trolleys full of various items all in one colour? If so, was there an element of performance attached to this work?
This work was initially meant as a performance work which took place in the supermarket, with the aim of gathering block colour en-mass in a container – a shopping trolley. It was young children that first noticed my trolley filling up with single-coloured items, it was only when I took out my tripod and camera to document the work did I get stares from adults. Surprisingly there was only a few curious shoppers who plucked up the courage to ask ‘what the hell are you doing?’. (I have attached a never-been-seen-before photograph – totally off-the-cuff – of an elderly couple giving me a very questioning look when doing my very first trolley dash).

There is a rather poetic irony at play when images of your collections are sold in limited edition prints for art lovers in turn to collect. Is this something you’ve considered?
Yes, of course. It is only my ‘Trolley’ photographs that are available as limited edition prints, which ironically is the only work I have ever made that just anybody could reproduce in a supermarket for themselves. The photographs are just a snapshot of a temporary artwork that existed for no longer than 30 minutes. I enjoy collecting; it plays into my work and into my lifestyle. The idea that someone can collect a set of images that illustrate a collection I have made is amusing to me. My work always has playful elements, this is an example of that.

Difference is Important Installation – detail (paint, coloured bulbs, acrylic, mirror, objects), 2012

Systems of ordering is obviously very important to you, how is Chroma different from your previous shows?
First of all Chroma is different to all my other exhibitions as its my first solo exhibition, therefore in the past i have been limited by space as I have only exhibited in group shows. In the instance of Chroma I have been given free reign to explore the gallery building and create new large-scale and ambitious site-specific work like never before. In Chroma I am still using methods of ordering and collecting as part of the work, but my methods of display are different in terms of presentation; although I have made ‘Orange Chamber’ specially for the show, which will be my largest chamber work to date. I am presenting my first foray into video work in a piece comprising of reclaimed wooden furniture and videos panning over single-coloured objects. ‘The Visual Grey’ references the disposable culture in which we live and how as a throw-away society we dismiss the beauty in banal items. In another new work I have changed four existing rooms into one piece, ‘Difference is Important’ utilises the irregular nature of the gallery space. Stepping into the rooms you are immersed by the brash, intense colour, stimulating your senses. Questioning the architecture of space and colouration of objects, the work dissects the building, questioning what we see and understand.

Liz beside Difference is Important Installation – detail (paint, coloured bulbs, acrylic, mirror, objects), 2012

‘Chroma: Liz West’ accompanying exhibition catalogue (limited to 100 signed copies) is available to order here.

Chroma is showing at BLANKSPACE, Manchester until 29 July 2012.

Find out more about Liz:
Website | Blog | Behance | Facebook | Twitter

Liz West works as a visual artist, making large scale site-specific installation work. Her Trolley’s project is an experiment in building collections of block colour.

We strongly suggest taking a look at the full project here and finding out more about Liz’s work here.

And if you would like to see her work in the flesh, Liz’s work is currently being exhibited at Kitsch, Bristol.

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Blue Chamber by Liz.West

LED by monkeytwizzle

Blue 3 by Grant_Johnson

Bluebird by tumblingblock

blue triptych 1 by Chellebell

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