However, comparing their works with hers, one wonders if Fabiani’s practice, which is perhaps less technically masterful, is not in fact the more soulful of the two? Another major source of inspiration for Fabiani is old stained-glass paintings. The two-blend visual and performance art with intricate light sculptures, and the influence they have had on Fabiani is not hard to see. Humorously, she adds, “So, I just went on”. Discussing artistic inspirations, Fabiani cites Adrien Mondot and Claire Bardaine as being most crucial in the development of her creative vocabulary. I made a sort of magic forest, and during the performance, I felt my backdrop had a huge effect on the children”. The artist elaborates on her creative journey: “It started in a very simple way, somebody requested me to project scenery in a show for children. Untitled by Fabiani, who describes her practice as manifesting a “sort of music made of light" Image: Silvia Fabiani In such cases, Fabiani’s captivating light artistry no doubt adds another dimension to the proceedings of whichever event she is involved in, enthralling her audience and bolstering the effect of her co-performers’ various practices. Returning to Fabiani, she describes her practice as manifesting a “sort of music made of light”, and explains that she often works in conjunction with readers, actors and musicians, depending on the event and venue in question. a blank slate existing outside the realm thereof, and one that may only have human rightness or wrongness superimposed upon it. However, the craft in itself must not be held accountable to human morality the craft is, by its very nature, amoral i.e.
In the case of both Speer and Turrell, their work has been considered to manifest a spiritual experience of sorts, which, morally speaking, in these diametrically opposed examples, can be seen as having led to both bad and good outcomes. Light was the first creation of God”. Fabiani’s perspective is very interesting and harkens back to light art’s ability to dazzle and enthral audiences as it was briefly presented through the examples mentioned earlier.
Nothing visible exists without light light transforms things.
She describes this as “typical” of her, happily explaining, “I am very independent”.Ġ2 mins watch Green Video: Silvia Fabianiįabiani explains her draw to light manipulation saying, “I am attracted by light, light is the physical matter used in digital art. She has a background in literature but moved towards digital artistry and light manipulation through her own interests, eventually becoming a self-taught light artist. One such practitioner is Silvia Fabiani, who is Italian by birth but currently lives and works in Switzerland. But as technology advanced from the glow of the electric light bulb to the computer monitor, artists have been experimenting with actual light as material and subject”. Sheets, “The interplay of dark and light has been a theme running from Greek and Roman sculpture to Renaissance painting to experimental film. Across the decades, from Albert Speer’s affecting Cathedral of Light features that became major fixtures at Nazi Party rallies from 1934 to 1938, to visionary artist James Turrell’s decades-long efforts to turn the extinct Roden Crater in Arizona into a giant naked-eye observatory, as it began in 1979, the play between light and shadow has come to define a major element extending across creative, political and religious ambits. Since then, the practice has become fundamentally intertwined with visual and musical art, and even political and religious events. However, experimentation would not pick up in earnest till the early 1920s, during the time of the Bauhaus and Constructivist movements. We reserve the right to remove posts and/or comments that contain blatantly dangerous advice.Light art has a rich history, extending back to the development of safe and cheap electric lighting technology towards the end of the 19th century. Always consult properly trained personnel when making any decisions on rigging, construction methods, or other areas of production technology that involve risk to life and property.
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