LED Light Sculptures

In Erika Dueck’s optical machines, the viewer can peer through a small opening into a near-pathological state of anxious disorder; a state of things half-accomplished and naggingly r...

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...

The Architecture of Knowledge in the work of Guillaume Lachapelle L. Sasha Gora Jorge Luis Borges imagined the universe as a library, one “composed of an indefinite and perhaps infinite number of hexagonal galleries.” The bookshelves in Guillaume Lachapelle’s rigorously detailed, architectural miniatures are similar imaginings of knowledge, infinity, and the meaning of books. When Lachapelle predominantly sculpted with wood, the library was already present in his work. Take for instance the delicate shelves in Maneges (2004-2006). In 2009, he began to employ 3D printing and since, he has drafted bookshelves as white, intricately printed sculptures. Fissure, 2009, a bookshelf whose centre collapses, like quicksand, into a void; Le piège, 2009, an isolated balcony that protrudes from a bookshelf; Évasion 2, 2011, a fragile staircase that leads to a corridor library. Despite their sculptural form, these pieces never feel static. They suggest something beyond the shelves. Books are often described as gateways to other worlds and the artist Dominique Gonzalez-Foerster exemplifies this literally. In her 2013 La Bibliothèque clandestine at Palais de Tokyo what at first appears to be a bookshelf is actually a rotating door that opens into a secret gallery. For Lachapelle’s sixth solo exhibition at Art Mûr, Vision, we encounter again the library. This time, he employs single-sided mirrors to exaggerate a sense of the infinite, getting closer to Borges’ indefinite library, such as in Awaiting Knowledge (2013). We confront the same architecture in Metro (2013) and Last Night (2013). A library, a subway car and a hallway from the Titanic, respectively, all melt into an intriguing yet alarmingly dark void. Where does the darkness at the end of hall lead to? Lachapelle’s miniatures act as a threshold between what is seen and not seen. Although a good five centuries apart, the printing press and 3D printing both belong to the history of print. However, in Lachapelle’s miniatures, books are separated from their use. We cannot read them. They are rendered decorative, almost fetishized, and so instead we must mediate on their symbolism. This requires imagination. Lachapelle’s models are far too tiny for us to occupy physically, and so we must occupy them with our imagination, as when we occupy books, turning the words into the stories and images of people and places. In Borges’ story, what began as extravagant happiness - the Library of Babel housing all books and holding all of the world’s answers – turned to depression: “The certitude that some shelf in some hexagon held precious books and that these precious books were inaccessible, seemed almost intolerable.” For Lachapelle, books represent a similar anxiety: as much as we know, there is always more that we don’t. Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models - which Lachapelle has recently begun to make with the help of the latest 3-D printing technology - shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle's work - for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness - these are the artist's references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa - Centre d'Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

Italian artist Annalù Boretto's dreamy sculptures enchant onlookers with hyper-realistic water splashes and brilliant colors. Born in Venice in 1976, the artist worked for years to d...

Bardula Hommage à Vasarely Pigments on plexiglass, glass, LED lights, aluminum 85 x 85 x 12 cm 33.5 x 33.5 x 4.7 inches

Carmen Menza is an interdisciplinary artist creating fine art and technology-based installations utilizing light, painting, interactive software, music co...

This "Infinity Vault" is spectacular in person! It is mounted on the wall to appear as if the diamonds and gold bars go into infinity. It can also be recessed into the wall to be f...

Olivia Steele Light The Way, 2018 Hand blown and coloured neon on metal gas can 18.5 x 13 x 9.8 inches Edition of 10 Signed by artist Currently on displ...

In 1985, NOART graduated from the Madame Street Art School. He creates works of art, furniture, sculptures, and arranged spaces. Fascinated since childhood by the reverse of contempo...

In 1985, NOART graduated from the Madame Street Art School. He creates works of art, furniture, sculptures, and arranged spaces. Fascinated since childhood by the reverse of contempo...

In 1985, NOART graduated from the Madame Street Art School. He creates works of art, furniture, sculptures, and arranged spaces. Fascinated since childhood by the reverse of contempo...

Max Patté Rock Lollipop Infinity wall sculpture Piece unique Diameter 63.7 inches x 3.5 inches Automotive paints, acrylic paints, clear cast acrylic, ep...

"Heart, 2019" is an LED Mirror Sculpture created by the artist Falcone. Falcone is a French designer and artist whose roots are firmly anchored in the history of art. Falcone was highly influenced by his grandfather's passion for geometric and kinetic artwork. From a young age, optical artworks became a playground for the self-taught artist. ​ Falcone draws inspiration from the unstructured cubist paintings of Carmen Arden Quin...

"Life is Beautiful, 2019" is an LED Mirror Sculpture with neon created by the artist Falcone. Falcone is a French designer and artist whose roots are firmly anchored in the history of art. Falcone was highly influenced by his grandfather's passion for geometric and kinetic artwork. From a young age, optical artworks became a playground for the self-taught artist. ​ Falcone draws inspiration from the unstructured cubist paintings of Carmen Arden Quin...

"Hexagon" is an LED Mirror Sculpture created by the artist Falcone. Falcone is a French designer and artist whose roots are firmly anchored in the history of art. Falcone was highly influenced by his grandfather's passion for geometric and kinetic artwork. From a young age, optical artworks became a playground for the self-taught artist. ​ Falcone draws inspiration from the unstructured cubist paintings of Carmen Arden Quin...

"Infinity Dollars" is an LED Mirror Sculpture created by the artist Falcone. Falcone is a French designer and artist whose roots are firmly anchored in the history of art. Falcone was highly influenced by his grandfather's passion for geometric and kinetic artwork. From a young age, optical artworks became a playground for the self-taught artist. ​ Falcone draws inspiration from the unstructured cubist paintings of Carmen Arden Quin...

"Graphic" is an LED Mirror Sculpture created by the artist Falcone. Falcone is a French designer and artist whose roots are firmly anchored in the history of art. Falcone was highly influenced by his grandfather's passion for geometric and kinetic artwork. From a young age, optical artworks became a playground for the self-taught artist. ​ Falcone draws inspiration from the unstructured cubist paintings of Carmen Arden Quin...

"Infinity Circle" is an LED Mirror Sculpture created by the artist Falcone. Falcone is a French designer and artist whose roots are firmly anchored in the history of art. Falcone was highly influenced by his grandfather's passion for geometric and kinetic artwork. From a young age, optical artworks became a playground for the self-taught artist. ​ Falcone draws inspiration from the unstructured cubist paintings of Carmen Arden Quin...

In Erika Dueck’s optical machines, the viewer can peer through a small opening into a near-pathological state of anxious disorder; a state of things half-accomplished and naggingly remembered. Assembled with the materials of architectural models, the large, rectangular foam core structures - attached with neat Velcro fittings, loose cords and connections, small LED pods stuck to the pieces like urchins - allude to the temporary nature of the setup. It’s a travelling peep show...

In Erika Dueck’s optical machines, the viewer can peer through a small opening into a near-pathological state of anxious disorder; a state of things half-accomplished and naggingly remembered. Assembled with the materials of architectural models, the large, rectangular foam core structures - attached with neat Velcro fittings, loose cords and connections, small LED pods stuck to the pieces like urchins - allude to the temporary nature of the setup. It’s a travelling peep show...

There are two Little Oil installations available with 6 sculptures each on top of LED light boxes. Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...

There are two Little Oil installations available with 6 sculptures each on top of LED light boxes. Two of the oil can sculptures depicted here are sold. Please contact the gallery for specific prices on individual prices and smaller light boxes sold with the sculptures. Prices range from $675 - $2050 including a small lightbox for individual sculptures. Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...

Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end in itself. But often the images ...

Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end in itself. But often the images ...

Illumetric: Cube, 2014 Acrylic, Steel, LED lighting 8 x 8 x 11 feet (244 x 244 x 335 cm) Edition of 3 Shana Mabari is a Los Angeles-based artist exploring the intersections of ...

Illumetric: Diamond, 2014 Acrylic, Steel, LED lighting 10 x 10 x 11 feet (305 x 305 x 335 cm)   Edition of 3 Shana Mabari is a Los Angeles-based artist exploring the intersecti...

Illumetric: Rectangle, 2014 Acrylic, Steel, LED lighting 3 x 2 x 10 feet (91 x 61 x 305 cm) Edition of 3 Shana Mabari is a Los Angeles-based artist exploring the intersections ...