The final piece, called Diorama 1, was finished at the end of 2020, but because of the coronavirus situation it has not yet been possible to take the artwork to Leeds to be displayed at St James’ Hospital. However, we decided it would be good to start sharing online rather than waiting until it goes on physical display, so here is a selection of pictures….
Images are by Robyn Manning Photography, who can be found on Instagram as @robyn_manning_photos. I am extremely grateful to Robyn for her patience in setting up everything so that the Diorama looks its best – thanks Robyn!
I thought it might also be interesting for people to see an example of the transition of lighting of the vesicles – this video was taken on my phone, so don’t blame Robyn for the ‘blown out’ exposure of the illuminated vesicles….
From quite an early conversation with the team, the intention had been for the vesicles to be lit up, but what was less clear was how this was to be achieved. We had discussed how it would be great for the lighting to change throughout the day, both to compensate for the piece being placed in a position without natural light (the CRF waiting areas are not naturally lit) and also to add interest to the piece.
I liked the idea of internal lighting and a transition across the day, finding it wonderfully consistent with the idea of a traditional diorama, as these often included their own interior lighting to draw in the viewer. One of the big questions for me, though, was how to programme the timings on the lighting, not being particularly competent in that area.
I did briefly learn how to use Arduinos, but it was a while ago and I would have had to start again from scratch to make it work. Also, all the restrictions of Covid made it harder to contemplate outsourcing this part of the project, as did the available budget. The answer came in the surprising form of aquarium controllers. These controllers are designed to make sure that aquarium fish are not shocked by the sudden switching on of the lights in the morning or the switching off in the evening and allow you to programme a series of sunrises and sunsets across the day.
Constructing the stands so that the glass elements were lit internally was initially a case of testing lots of different types of 12V lights of the kind often used for caravans or countertops. Eventually I found some that I was happy with and set about mounting them so that the lights would be correctly positioned within the vesicles. Lots of cases of trial and error as I went along and once again aquarium supplies came to the rescue, this time in the form of clear flexible tubing that holds the lights in the right place.
Finally, after wiring, soldering and finishing the full construction of the piece, I could programme the lights in the vesicles. They can each be set to gradually come on at different intensities across the day to draw attention to different parts of the diorama.
Meanwhile, another challenge was to light the Z Stack. I achieved this through feeding an LED strip through the length of the stand I had created for the stack, with holes strategically drilled to let light through. For me, this layered lighting enhances the analogy of the Z Stack itself, and how the microscopy and computation processes build a whole form from slices of data.
To see a timelapse of one lighting scheme for the finished artwork, have a look at a forthcoming post of images of the final piece!
So, for those of you who have read my post on placing the artwork, you know that there are some major advantages to placing the artwork under glass (even if it is itself made of glass!).
I know that I don’t just want to make an artwork and pop it into a standard cabinet – often glass art does not fare well when placed inside a glass case. So my plan is to create an artwork where the cabinet or vitrine is an integral part of the piece.
When thinking about how to use cabinets or vitrines in this artwork, I am very much drawn to thinking about natural history exhibits. A lot of natural history museums in particular evolved complex settings for displaying their flora and fauna specimens in their vitrines during the late nineteenth century and enduring well into the twentieth century. This approach also spilled over into more general taxidermy.
Various artists are also known for using vitrines in their work. Here are examples from Carsten Holler, Anselm Kiefer, and an artist new to me Fiona Hall. They have used vitrines in different ways, creating types of taxonomy, mises en scenes and
Reviewing how curators, collectors and artists use of vitrines, some of the key things I know I want to think about going forward include:
Backdrop – coloured and or sandblasted
Drawing or writing on the case
Mise en scene inside the case – including narrative elements
Composition of main elements as specimens (or not)
I already have my eye on a specific vitrine / display case so am going to be thinking about those things in light of that….