It was a friend’s wedding responsible for my return to New York. I hadn’t been back since I moved away 2 years ago, and I was excited to revisit the places I once loved, including a place known as Pioneer Works, a cultural center in the community of Red Hook Brooklyn. It didn’t hurt one of my favorite bars is just around the corner.
Even without knowing which exhibitions would be on display this particular day, I dropped by Pioneer Works to stumble upon an incredibly inspiring collection of work by artist, Anthony McCall. Solid Light Works blocks out over thirty feet of vertical clearance, filling multiple rooms with haze and light installations.
A seminal figure of Expanded Cinema, McCall is well known for his “solid-light works”, a series he began in 1973 with the 16mm film, Line Describing a Cone. A volumetric form composed of a beam of projected light slowly evolves in real, three-dimensional space. McCall regards these works as occupying a place somewhere between sculpture, cinema, and drawing. Sculpture, because the projected volumes must be occupied and explored by a moving spectator. Cinema, because these large-scale objects are not static, but structured to progressively shift and change over time. And drawing, because the genesis of each installation is a two-dimensional line-drawing.
As a landscape designer I was struck by the simplicity of the forms and how successful they defined space. Some areas of the installations defined more intimate spaces. Participants laid on the ground within the projected confines of the light, some taking photos, while others just stared up in contemplation. Other areas were more open and horizontal in their projections. These became more social spaces where participants moved their hands in and out of the light. The installation focusing viewers on the interruption of the figure within space defined only by the projection of light.