Illuminated (space)


October 6 – December 31, 2017

This exhibition features eight artists residing in the U.S. and Canada who incorporate various forms of illumination in their work.  The sources of light emanating from their pieces may be incandescent light bulbs, LED bulbs or screens and  video projections.  Included will be works by Jim Campbell, Diane Landry, Jean-Pierre Hébert, Brian Eno, Mery Lynn McCorkle, Alan Rath, Erwin Redl and Jody Zellen

Jim Campbell

Jim Campbell was born in Chicago in 1956 and lives in San Francisco. He received degrees in Mathematics and Engineering from MIT in 1978. He transitioned from filmmaking to interactive video installations in the mid 1980s. His custom electronic sculptures and installations have made him a leading figure in the use of computer technology as an art form.

His best-known work involves pixilated representations created with grids of L.E.D.s, which have such low perceived resolution as to defy comprehension. Exploring the line between representation and abstraction, Campbell plumbs the human ability to interpret information and "fill in the gaps" necessary to create a complete idea. His exploration of the distinction between the analogue world and its digital representation metaphorically parallels the difference between poetic understanding or "knowledge" versus the mathematics of "data."

While Campbell's works typically use flat grids of evenly spaced L.E.D.s, he has recently begun to "pull apart" two-dimensional imagery, presenting it in a three-dimensional format. His 2010-11 outdoor installation, Scattered Light, in New York's Madison Square Park, and a commission for the atrium lobby of the San Francisco Museum of Modern Art, Exploded Views (4 Films), exemplify this new direction. 

Diane Landry 

In her kinetic sculpture, Diane Landry transforms the mundane into the wondrous imbuing everything from water bottles to laundry hampers to plastic cutlery to bicycle wheels with unexpected life.  She received a 2015 John Simon Guggenheim Memorial Foundation Fellowship.  Landry was born in 1958 in Cap-de-la-Madeleine and maintains her studio in Quebec City, Canada. She initially studied Natural Sciences and worked in the agricultural field for five years. At age 25 she shifted course to the visual arts. Landry received her B.A. in Visual Arts from Laval University, Quebec, in 1987 and an M.F.A. from Stanford University, California in 2006. She has exhibited and performed extensively in Canada, USA, Europe, China and Australia. Landry has also worked as artist-in-residence in New York City, Montréal, The Banff Centre (Alberta), Buenos Aires (Argentina), Marseille (France) and Utica (NY). In 2009, the Musée d’art de Joliette in Quebec published a monograph marking the first retrospective exhibition of her work, The Defibrillators. Her first American retrospective, The Cadence of All Things, was presented by the Cameron Art Museum in Wilmington, North Carolina in 2013.  Her work was included in the exhibition, Oh, Canada, on view at Mass MoCA, North Adams, Massachusetts in 2012-2013. In 2013-2014, the Contemporary Arts Center, Cincinnati, presented her exhibition by every wind that blows.

Jean-Pierre Hébert

Jean-Pierre Hébert is a pioneer in creating art through the use of computer programming.  Creating algorithms, sets of step-by-step mathematical calculations, he generates amazingly subtle and intricate drawings in sand, air, water and on paper.  A concern with line as a direct expression of the thought process pervades his work.  Prints, drawings and an animation of his “Metagon” drawings are included in the show.

Originally trained as a civil engineer, he began experimenting with digital art in the 1970s.  His transition from engineer to artist developing the underlying technical basis of his work precedes the practices of younger artists with engineering backgrounds such as Alan Rath and Jim Campbell by a generation.  Hébert’s early artistic influences ranged from Piet Mondrian and Wassily Kandinsky to Max Bill, François Morellet, Wolfgang Otto Ludwig Schulze, a.k.a WOLS and Agnes Martin.  With John Cage, he shares a profound interest in Zen Buddhism.

Jean-Pierre Hébert is the Artist-In-Residence at the Kavli Institute for Theoretical Physics at the University of California Santa Barbara, a position he has held since 2003.  His many awards include grants from the Pollock-Krasner Foundation in 2006, the David Bermant Foundation in 2009 and the Lifetime Achievement Award in Digital Art from SIGGRAPH in 2012.  The first public exhibition of his digital drawings was held in France in 1989.  His work has been included in such groundbreaking exhibitions as “Alien Intelligence”, 2000, at the Kiasma Museum in Helsinki, Finland, “Imaging by Numbers”, 2008, at the Block Museum of Art, Northwestern University, Evanston, Illinois; “Digital Pioneers”, 2010, at the Victoria & Albert Museum, London; and “Drawing with Code”, 2011, at the deCordova Sculpture Park and Museum, Lincoln, Massachusetts.  Other exhibition venues include the Brooklyn Museum of Art, Santa Barbara Museum of Art and the Santa Barbara Contemporary Arts Forum.  Born in Calais, France, Hébert has resided in Santa Barbara, California since 1985. 

Brian Eno

Brian Eno is an English musician, composer, record producer and visual artist known as one of the principal innovators of ambient music and generative painting. As a visual artist he has been exhibiting since the late 1970s and has been showing his work regularly since then, from Tokyo to Cape Town, Rio de Janeiro to New York, London to Madrid. His visual work is dedicated almost exclusively to the possibilities that the medium of light provides. In 2009, Eno was given the very rare invitation to exhibit on the iconic sails of the Sydney Opera House in Australia. This was achieved using an array of powerful projectors with the light thrown across Circular Quay. The installation consisted of Eno’s own software 77 Million Paintings, a piece that creates an ever-changing, albeit at an almost imperceptible speed, light painting.  The light box installation with sound, “Empty City” from the 2016 series “Light Music”, is included in the exhibition.  The piece slowly phases through Josef Albers-like color combinations accompanied by meditative, trance-like music.

Mery Lynn McCorkle

Mery Lynn McCorkle studied literature at the University of Georgia for her B.A. (1970) and printmaking at the University of Oregon for her M.F.A. (1979).  After teaching at a community college in Eugene, Oregon for a number of years, she migrated to Williamsburg, Brooklyn in 1989. In early 2002, she moved to Los Angeles where she discovered a talent for curating exhibitions. In addition to her visual art, she has written three novels focused on the art world. Last Judgment and Crystal Clear are suspense novels. Just Like Suicide examines self-destructive behavior in the LA art scene.  In 2010, she relocated to Georgia and now lives among the mimosas and pines in Floyd County, just outside of Rome, northeast of Atlanta.
McCorkle has been intrigued with creating patterns and visual layers that reveal and hide details. In California, she made paintings on the back and front of transparent vellum and layers of rice paper, saturated with acrylic, plucked with eyebrow tweezers, suspended on wires above it. In Georgia, she has been making collages with painted rag paper and then crusting them mostly with translucent glitter, both hiding and revealing the textures underneath. McCorkle connects these collages to a Southern sensibility of lushness, decay and what she terms “awkward elegance.” 

Alan Rath

Alan Rath’s contributions to the field of contemporary sculpture and new media have received significant acknowledgement worldwide. Originally trained at MIT as an electrical engineer, he is one of the few visual artists who designs, builds and programs all aspects of his sculptures. His distinctive kinetic sculptures poetically integrate the human and the technological. Many incorporate computer-animated still images of human features, such as eyes, mouths and hands. These images are displayed on LCD screens mounted on sculptural armatures. The images are programmed to change in subtle progressive permutations and often appear to be involved in some form of communication.  The exhibition features a robotic sculpture from 2013, “Roto II” and several of his cathode ray pieces.

Rath’s work is included in such major collections as the San Francisco Museum of Modern Art, the Whitney Museum of American Art (New York), the Walker Art Center (Minneapolis, MN), the Cincinnati Art Museum, the Los Angeles County Museum of Art, and the Hara Museum (Tokyo). Born in Cincinnati, he lives and works in the San Francisco Bay Area.  


Erwin Redl, an Austrian-born artist based in Bowling Green, Ohio and New York City, is best known for large-scale light installations for art museums, public buildings and corporations. His work transforms the medium of light into immersive, tangible experiences for viewers.  His architectural environments translate complex mathematical algorithms and other methods inspired by computer code into contemplative, minimalist spaces further activated by his use of motion and rhythmic sequencing.  Two variations of his light sculpture, “Reflections, on Patterns and Signs”, are editions published by Carl Solway Gallery.

In 2015, Redl developed the installation Cincinnati Swing for the Contemporary Arts Center in Cincinnati. Composed of hundreds of swinging LED lamps, the installation covers the entire “urban carpet” of the Zaha Hadid building, from the lobby up to the sixth floor.  His work is internationally exhibited and permanently installed in locations in San Francisco, New York City, West Hollywood, Seattle, St. Louis, Toronto and Istanbul, among others.  His installation Matrix VI lit the face of the Whitney Museum of American Art during the Whitney Biennial 2002.  Public collections include the Museum of Contemporary Art, San Diego; Milwaukee Art Museum; and Whitney Museum of American Art, New York.
He will soon have new permanent installations at the University of Rhode Island, Kingston; Ohio State University, Columbus; and the Union Square/Market Street subway station in San Francisco.  An upcoming outdoor installation is slated for Madison Square Park in New York City.

Erwin Redl was born in 1963 in Gföhl, Austria.  He studied composition and electronic music at the Music Academy in Vienna.  In 1993, he moved to the United States and in 1995 he earned an M.F.A. in Computer Art from the School of the Visual Arts in New York City. 

Jody Zellen

Jody Zellen is a Los Angeles-based artist who works in many media simultaneously to make interactive installations, mobile apps, net art, animations, drawings, paintings, photographs, public art, and artists’ books.  Her recent installations include "Time Jitters," Grand Central Arts Center, Santa Ana, CA, 2014; "Above the Fold," The Halsey Institute at the College of Charleston, SC, 2014, "The Unemployed," Disseny Hub Museum, Barcelona, 2011.  “Time Jitters” was shown at Carl Solway Gallery in 2016 during the FotoFocus Biennial.  Zellen was a 2012 recipient of a California Community Foundation Mid Career Fellowship and in 2011 she received a Center for Cultural Innovation Artistic Innovation Grant and a Fellowship from the City of Santa Monica to develop an artwork for mobile devices. Her six apps "Urban Rhythms," "Spine Sonnet," "Art Swipe," "4 Square," "Episodic" and "Time Jitters" are available for free in the iTunes app store. A suite of new lenticular prints titled “News Cycle” and a projection titled “News Wheels” are included in the exhibition.



Untitled Untitled Untitled Untitled
JIM CAMPBELL, Untitled (Birds), 2013, Custom electronics, LEDs, cast resin, steel, Edition of 25, 11/25, 17 x 22 x 4.5 inches

BRIAN ENO, Empty City from the series Light Music, 2016, Light box: LED lights, perspex, wood, USB stick, 26 x 26 x 7.75 inches BRIAN ENO, Empty City from the series Light Music, 2016, Light box: LED lights, perspex, wood, USB stick, 26 x 26 x 7.75 inches JEAN-PIERRE HÉBERT, Twenty-Four Views of a Metagon, 1998,
24 inkjet drawings on Somerset paper, Edition of 12, 12/12, 19.5 x 13.25 inches each framed

Untitled Untitled Untitled Untitled
JEAN-PIERRE HÉBERT, Metagonal Galore, Vanishing, 2017, Still from digital video, Edition of 5 + 1 AP JEAN-PIERRE HÉBERT
Blue Wavelets (from Just Enough Chance Series), 2015, Pigments on aluminum,
48 x 24 inches

.DIANE LANDRY, Solo Knight III, 2014, Aluminum bicycle wheel, plastic water bottles, sand, LED, aluminum, motor, gear, ball bearing, wood, 54 inches diameter x 14 inches (depth) .DIANE LANDRY, Solo Knight III, 2014, Aluminum bicycle wheel, plastic water bottles, sand, LED, aluminum, motor, gear, ball bearing, wood, 54 inches diameter x 14 inches (depth)
Untitled Untitled Untitled Untitled
MERY LYNN McCORKLE, Mitochondria of the Egg, 2013, Glitter, acrylic on paper mounted on board, 2 panels, 36 x 24 inches each MERY LYNN McCORKLE, Transport of Protein Within Ciliary, Ganglion of a Chick, 2012, Glitter, acrylic on paper mounted on board, 3 panels, 36 x 24 inches each ALAN RATH, Walleye X, 2011
, Aluminum, FR-4, PVC, custom electronics, LCD, 78 x 28 x 16 inches ALAN RATH, Framed Running Man, 2004, Garolite XX, PVC, G-10, wood, paper, software, electronics, LCD, Edition of 3, 3/3, 25 x 21 x 3 inches
Untitled Untitled Untitled Untitled
ALAN RATH, Roto II, 2013, Aluminum, fiberglass, custom electronics,
motors feathers, Edition of 25, 2/25, 56 x 104 x 6 inches

ERWIN REDL, Reflections, on Patterns and Signs, 2015, Light painting 12 RGB LED-bars on white board with stainless steel frame, microprocessor 36.5 x 36.5 x 3.5 inches (width x height x depth), Edition of 10 ERWIN REDL, Reflections, on Patterns and Signs (5 bars, 4 circles), 2017, Light painting with five programmed RGB, LED-bars and four programmed RGB LED-circles on white painted ABS-board with stainless steel frame, 36.5 x 36.5 x 3.5 inches (width x height x depth), Edition of 10 JODY ZELLEN, News Cycle, 2017, A suite of eight lenticular prints, Edition of 5 + 3 Aps, 14 x 11 inches each
JODY ZELLEN, News Wheel, 2017, Free app available on iTunes