considering my visual presentation, i think clancy makes an insightful conclusion here. while i always expected the representation of light to form a large part of my thesis, i haven't to date considered it the focus of my studies. i can imagine that the strength of this masters thesis may rest largely on how well i communicate particular notions concerning light.

on the representation of light. it occurs to me that in drawing light i'm attracted to scenes of high [wide] contrast; and the boundaries where white light and deep black meet. it's at these boundaries that i form a sense of material and volume of light, or in some cases the space that light excludes. i find some similarity in anthony mccall's projections; smoke diffused rooms express the geometry and nature of the intersecting, space defining blades

i've considered the material qualities i inevitably invoke when representing light and space in one of my etched plates; a rough, coarsely textured surface for black and the rather polished perfection of intense area's of light. although i need not explain that light isn't attributed with qualities synonymous with matter, i find it increasingly useful to transpose descriptions of the ethereal and the material.

simply put, light and dark are two aspects of the singular phenomenon. i refrain from dedicating my work in this way and instead ascribe a desire to control and restrict illumination to the prevalent atmosphere of my prints and drawings. in one sense the darkness in the scenes is an aesthetic and somewhat psychological exercise to narrate the story. however i have found that through restricting incidental light a more tightly controlled experiment in light is the product.

designed by sean