Illumination: An Exploration of Three Artists Working with Light
Words by Carys Granger
Light is used and manipulated as an integral aspect of any artwork. In an exploration of works by Yayoi Kusama, Bruce Nauman and Tracey Emin, I will delineate how their use of light in a more literal context projects their identity and self-expression. Ranging from LEDs and use of mirror rooms, this article will explore the aesthetics, influence and narratives that are created by these artists.
Firstly, with a currently sold out exhibition at Tate Modern, Japanese artist Yayoi Kusama’s Infinity Mirror Rooms are an aesthetic ecstasy for your eyes and mind. The endless reflections of colour-changing lights and mirrors compels you to stay in the wonderland fantasy forever. Luckily enough I was able to visit this exhibition, therefore firsthand I can express how the infinite spaces Kusama has created satisfy the fanfare surrounding this spectacle. Her 2016 room, Chandelier of Grief invites the viewer into a hexagonal room with the single light source coming from a baroque-style chandelier.
Yayoi Kusama, ‘Chandelier of Grief’ (2016)
On its own the chandelier would be fascinating enough, however when placed into this room covered in mirrors it is absolutely sublime. As the chandelier rotates it invokes an overwhelming sense of euphoria partnered with melancholy. Conceivably this is expressed from the work’s title. Nevertheless the juxtaposition of white crystal lights and dark mirrors makes this work utterly mesmerising. Kusama’s intention represents a leitmotif seen throughout her work, of complex psychological states. In this instance bereavement is principally poignant, when directed with your own reflection infinitely repeated within the mirrors. Subjectively this could represent the grief of moving through life and the universe. Nonetheless this phenomenological work is overpowering yet personally introspective, similar to grief itself.
Secondly, American artist Bruce Nauman has been working with neon lights since 1965 when they became a popular medium in the art world. His conceptual works play with language and gestural compositions. The text-based works that he creates evoke an emotional response as they are candid and forthright. This is not to say they are aggressive, moreover the complexity of the narratives expressed are captivating. In a recent exhibition in the Tate Modern, which I have also had the privilege of seeing, Nauman’s neon works are put on display alongside video and sculptural installations.
Bruce Nauman, ‘One Hundred Live and Die’ (1984)
Arguably the most intriguing work is his 1984 One Hundred Live and Die. Here he presents a grid of altering colourful declarations accompanied with the hum of neon, provoking potential danger. These statements to name a few: ‘sleep and die’, ‘cry and live’ and ‘think and die’ directly reference experiences from life and death. The hundred statements represent individual stories that become collated and unionised in the news. This work is utterly depressing with the multiple expressions of death, however is juxtaposed with an equal amount of remarks of life. The dichotomy between life and death is extremely thought provoking. Nauman uses neon lights to catch the viewer’s attention and invite them into his complex construction of a hundred differing narratives. It is an artwork that can be interpreted and analysed in an infinite plethora of directions.
Lastly, British artist Tracey Emin works with neon lights to create personal proclamations. Use of her own handwriting allows the medium to be a uniquely intimate body of work from Emin. Many of her pieces are displayed as romantic declarations, set into neon glow to create a sense of permanence in the world. One of her most notable works is the twenty-metre sentence in St Pancras station, estimated to have been seen by over fifty million travellers. The work titled I Want My Time With You, relates to the many reunions of loved ones arriving at the station. This message of love is an inviting sentiment to be welcomed by. Another of her works which is a personal favourite, is her 2012 She Lay Down Beneath The Sea. The turquoise neon sign evokes a relaxing image of being deep and at one with water. Additionally, the imagery is enticing for some and strikes a sense of danger for others.
Tracey Emin, ‘I Want My Time With You’ (2020)
Tracey Emin, ‘She Lay Down Deep Beneath The Sea’ (2012)
This juxtaposition of positive and negative imagery and psychological expressions is seen in each of these artists' works. Unlike a majority of her neon works this is not directed to a specific person, and the open sentence is aesthetically alluring and subjectively reactive for the viewer. For me personally, this work invokes an extreme atmosphere and longing for the sea. Furthermore, Emin's use of neon is a provocative and innately intimate elucidation of her identity. Illuminating her confessions of love, disappointment and fear, she creates an overly personal exploration of her individualism. Conclusively, each of these artist’s use light in a direct form to create narratives that are accessible and inviting for the viewer, while simultaneously examining psychological states of being.
