adrienlucca

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Tag: installation

Yellow zone / Yellow-free zone

flyer proposal web

Collaboration project with LMNO Gallery
Whitehouse Project Space
May 05, 2019Jun 09, 2019
Vernissage May 5, 4 – 7 PM

link

After A White Room Without Yellow (LMNO Gallery, 2018), Yellow-free zone (Rotterdam, 2018) and Zone sans jaune (ARCO Madrid, 2019), Yellow zone / yellow-free zone, is the latest of a series of installations that explore the characteristics of a special artificial white light that modifies the perception of colours.

YZ / YFZ, a light experiment presented in the project space of The White House Gallery, produced in collaboration with LMNO Gallery, is made of two sources of artificial white light and of some coloured inflatable balloons that can be moved by the visitors.
On one side of the room – the “yellow zone” – the white light is produced by a mixture of red, green and blue lights. On the other side – the “yellow-free zone” – the light appears identically white but contains no green and no blue lights, but only red and cyan. Surprisingly, in this zone the yellow objects appear of another colour. A primary yellow becomes bright red-orange, lemon-yellow objects turn pink or beige, yellowish-greens become brown, orange objects are almost purely red.
For human beings having a so-called “normal” colour vision – i.e. about 95% of the entire human population –, when I say “white” for a light, I say that when the light illuminates a white wall, the white wall appears white. YZ / YFZ invites the visitors to experience the almost magical effect of a special white light that counter-intuitively transforms the colours of everyday objects, including on the visitor’s bodies: the colours of their eyes, of their skin and of their clothes.

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Adrien Lucca (born 1983 in Paris, FR – lives and works in Brussels, BE) is a professor at the National school for visual arts La Cambre in Brussels. For about 10 years he’s developing an artistic practice around the topics of natural and artificial lights, colours and perceptions, a transdisciplinary practice where the artistic experimentation and the scientific method are intertwined. In 2015 he founded the Studio Adrien Lucca, a company that produces monumental artworks in the public space using various media: Soleil de minuit (permanent stained-glass installation, Montreal, 2017), Microkosmos (permanent wall painting and artificial light installation, Brussels, 2018), Dentelles de lumière – allégorie de la recherche (permanent glass painting installation, Rome, 2018), Yellow-free zone (artificial light installation, Rotterdam, 2018).

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Wanna see a preview? Follow me on Instagram or Youtube!

 

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In-situ test for “Yellowless Corridor”, a future artwork in Maashaven station, Rotterdam, NL

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Somebody brought a yellow jacket…

Microkosmos at night

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Illumination by 4 custom “Special warm-white” light fixtures:

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…and on the diaporama below, the difference between day and night:

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Microkosmos: preview

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Views of the installation behind scaffolding

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Microkosmos (flemish for microcosm, i.e. “little world”) is the title of my latest installation situated Rue Egide van Ophem 46 in Brussels.

Made on the 7.5 x 22 m wall of the patio of the future centre “Het huis” (a house for two non-profit organisations), it comprises a wall painting and a “special white” light system that changes the colors of the painting at night.

More information will be available when the installation will be inaugurated in 2018.

3rd of 3 projects at été 78

été78 p3 b

été78 p3

Hommage à Edwin H. Land, 2017

Halogen lamps, special white lamp designed in collaboration with GVA lighting (model FL-100), various objects

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The space is illuminated by two different white lights that have the same whiteness and color temperature (about 3000K). Common colorful objects are displayed on two pedestals: fruits, flowers, color samples, beer bottles, etc.

The objects illuminated by the special white light dramatically change: pilsener beer look like sparkling rosé, dull blue objects appear bright turquoise, warm yellow plastic becomes bright orange, lemons become whitish, dark purple flowers appear dullish blue.

All colors except for white, grey and black are changing. People with “normal” color vision are experiencing something like color-blindness. People’s skin and blue eyes also change, they somehow appear more beautiful…

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Here’s the text written for the show (in French):

What do I do?

Experimental studies with colour and light

As I see it, an experiment means precise physical actions set in accordance with a theory that describe their interaction. These actions refer to a question or to a hypothetic result, embedded inside the setup. An experiment requires a theory, a modus operandi, a setup, and a hypothesis.

My “cup of tea” is to make visual experiments with a scientific method. By studying the physics of coloured materials and lights, I invent ways to materialize abstract objects – or mathematical “concepts” of visual objects – without knowing in advance how the outcome will look.

As a way of working that generates otherwise impossible results, can inventing a process of “making” be, but a technical issue, an artistic research per se? Could my personal interest in physics, computer programming, digital printing, and painting become instruments for making visual experiences in a way that hasn’t been tried yet?

Traditional painting – as well as print-making – often ignore the light parameter: of course, a material picture is always the result of the illumination of coloured materials, but this very aspect is not much taken into account, and not studied for itself. The physical measurement of lights and coloured materials allow me to predict their interaction and thus, allow me to work on colour-perception with an original approach: I investigate how to “paint with lights plus paints.”

So far, I focused on creating a methodology, and the tools for an original visual language where the interaction between colours and light is key. In this context, I realized several series of studies and installation prototypes where I accumulated sets of experiments:

Colorimetric pictures series, 2014 – the latest works, printed

– D65 series, 2011-2014 – hand-made paintings on paper

Light Transformer prototypes, 2010-2014 – installations

The common specificity of each series is that they were attempts to formulate visual objects in a modern scientific language of colour theory. These attempts have been my first step toward an artistic medium that blends light and coloured materials in a single form.

 

Adrien Lucca, Oct. 16, 2014

Maastricht unexpected Art spaces, Opening Oct. 18

MUAS_Program_02_v1-1 MUAS_Program_02_v1-5

(to read the text, click on the picture to zoom)

Sat. March 1st at ISELP, Brussels, around 4:00 PM, Light transformer 4.0 – preview

LT PREVIEW1

LT PREVIEW2

LT PREVIEW3

I’d be happy to see and talk to anybody for a preview of my “light transformer” tomorrow at 4:00 PM at ISELP (www.iselp.be)

Please forward this information around yourself!

Light transformer prototype v 4, proof of concept

wall

CLICK ON THE PICTURE TO ZOOM SCALE 1:1

The key was to build the mathematical solution for this (that would be easy for any mathematician I guess…) And that’s it! Still quite bad programming (“functionnal programming”), but good work!

Take this picture:

MAP

Okay it’s not a “real” picture, but it could be: imagine that this is a precise representation of the amount of light that falls on a wall, the wall having the same proportions as the picture. The value of every pixel is proportional to the amount of light on the wall.

It is possible to take such a picture, one needs a properly calibrated digital camera. The result is fairly good if one has a good solution to remove the lens “vignetting”, and to check if the CCD or CMOS reacts properly.

So let’s imagine — for now — that it is the case: the picture is an almost perfect one, it is the map of the intensity of the light on the wall, coded in 16bit greyscale (values in the range 0 – 65535), and the exposure is good: no value is equal to 0 or to 65536, all the data is properly recorded witout being truncated.

We have a list of 386 color samples coded in RGB, printed with a very good inkjet printer. These color samples are measured by a spectrophotometer, i.e., we have their curves of absolute reflectance. We also have the spectral distribution of the illuminant (a fluorescent tube for ex.) — and we can use some Color Matching Functions to convert our spectral data into a colorimetric language allowing additive color calculations (CIE XYZ)

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ill fluo

XYZ

 

With all this, we are ready to calculate what sould be printed on the wall in order to get a uniform light field of a unique color, and the picture starting this post shows how the wallpaper could look like, before being printed (it is one of the infinite geometrical suitable solutions, using random numbers to distribute colors)

This is not only a simulation, all has been computed, only the wall’s image is a fake. That’s “painting with paints and lights”, the beginning of a long story I hope :)

A few more spectra (just a bit!) :

few more

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Light transformer prototype v.4 starts @ ISELP, Brussels

a good “flat”

CLICK ON THE PIC TO ZOOM!

 

Here it is: a “flattened” wall, made of a white wall, 2 halogen lights & 1 spotlight, white paper and black toner ink.

The numbers, L* values in photoshop color picker, are approximate and dont take into account vignetting of the camera, but basically it works! And the random-pixel pattern has no border effect, nice :)

 

CLICK ON THE PIC TO ZOOM!

CLICK ON THE PIC TO ZOOM!

Above is the calculated density for the black relative to the local  luminance of the wall.

come back soon! ;)

large wall correctors : 3 times 90 cm x 230 cm (files to be printed)

 

 

calibration, 1st measures, samples

The calibration of the material is a heavy task – but now the system works.

Below are two pictures representing light measurements in RAW mode (linear) on my digital camera, every pixel is made after 1 photo which has been croped and averaged, and they correspond to +- 10 x 10 cm zones of the wall.

The 1st picture has been made with 1/4 sec. aperture, the second with 1/2 sec.

The continuitiy has been reproduced after the pixel values in a spreadsheet program (see below).

It looks pretty surprising, but the Black density of the random-pixel-distribution printed samples placed on the wall corresponds exactly to the correction needed to make a “ganzfeld.”

That means that: THE AMOUNT OF DIFFUSED LIGHT IS STRICTLY EQUAL (well… sctrictly is a big word! :) AT POSITION A, B, C etc.

However, the eye & brains “fight” against these equalities, trying to “tell” that the sample A is darker and B is lighter, even if the amount of light that they redirect in my direction is strictly equal for A & B

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