A Roar, A Boar y Alice LED light sculpture by Lumencrafter. Art by Reid Dennison.
Photograph shows the A Roar, A Boar y Alice light sculpture outside a barn in daylight. For more information about Lumencrafter art, the A Roar, A Boar y Alice light sculpture, and commissioning your bespoke LED light sculpture, contact us.
As much as a teenager can be serious about these things, I wanted to be a sculptor. I liked art, especially 3D art. I changed schools to get into an art program. It was the 70’s, I had long hair, I didn’t do my homework. But my mother encouraged me. From time to time, invarious art classes or doing crafts with my family, I’d make something I’d like and keep. I still have a piece of fired clay that took an impression of my grasp – and a man’s reach should exceed his grasp, says the poet.
I always enjoyed looking at things in that way—abstract but with a connection to the natural world. The idea that kept coming back: a human structure with a natural metaphor.
I can’t think of a time when artists were not in my life. My mother was a painter; one sister, a skilled pianist and flautist; another acted at Stratford and Shaw and in various films for television. For 29 years, I lived in Arcadia Housing Co-op for Artists on Toronto harbour,alongside many fine Canadian painters, sculptors, musicians, writers, and actors. The move from Toronto to Flesherton was encouraged by a painter friend and her gallery-owning husband. They had seen the light sculptures and offered me a place to show my work.
I was losing the joy of film editing; I had loved the touch of celluloid, the look of light and dark on that narrow plastic strip; had loved the cutting and taping, the physicality of it. To stay alive in that business, I had to reinvent myself several times, learning linear videotape editing and then digital computer editing. But as I got further and further away from working with my hands, I felt something was lost. And then, the new television aesthetic – the pressure to add vwoom sounds and fwoosh flashes to every other cut just because we can – all just made my soul heavy.
In one of my frequent home renovations, I used polycarbonate twinwall to create Japanese-style paneled room dividers. I had one very narrow strip of the polycarbonate, a very slender trim from one of the panels. I liked the way that looked, a delicate ladder. I began to play.
I found myself cutting up polycarbonate plastic strips and twisting them into shapes enfolding light. It was time to become the sculptor my boyhood self had imagined.
Now I was working, not with projected light, but with direct-source light. It’s similar – as a film student studying cinematography, I had to consider what to put in the frame, what the dark spaces were telling me. I turn much the same eye upon my sculptures. And I’m still working in a darkened room.