The past lives in the present. Although the experiences that shaped earlier years may fade with time, their echoes can still be heard in the current moment, endowing it with a new sense of depth and meaning. Crt Birsa of Blackout Lighting Design knew this full well when he designed a compelling lightshow for Bosnian stars Dubioza Kolektiv at Arsenal Fest 2021.

Birsa began lighting the genre-smashing band in late 2010 and soon after that he had bought his first ChamSys PC Wing. In all the years since, he has built on this experience with every single Dubioza Kolektiv show. Using ever-more advanced ChamSys consoles, he has continuously taken earlier looks and bent them in original ways to create designs that build on a rich legacy, while reflecting his client’s music in refreshingly original ways.

“My show contains ten years of history,” said Birsa. “This is a history that is constantly updated with new ideas for old songs, and also new songs being reflected in new and traditional ways.

“Designing for Dubioza Kolektiv is a wonderfully rewarding challenge, because the band combines some songs in blocks, so each tune has to stand out on its own, but at the same time all of them have to fit together in different combinations,” he continued. “Being able to save, edit, clone and morph my looks from generation to generation on a stable ChamSys platform is extremely important.”

For the Arsenal Festival, Birsa called on his MagicQ MQ80 (he’s also use MQ500 consoles) to unleash a vivid flurry of looks in support of the seven-piece band as they wove their way through a raw, powerful set that moved seamlessly from dub, ska, and hip hop, to rock, and punk sounds.

Coordinating his 150-fixture, 9-universe show with the video designs of Bob Raccoon, he directed brilliant beams of light down from the 10-meter high stage roof to create an architecture of light that opened clean performance spaces for each band member.

Birsa also engaged the crowd with bright colorful audience lighting. “The band-audience communication is very essential,” he said. “The audience is almost part of the show. Because of this, audience lighting is featured in my design.  I also use some effects on the crowd.”

Given the complexities of his Dubioza Kolektiv show, Birsa said time coding was essential to his plans.  “I could not have done things quite this way without timecoding,” he said. “The show would have to be built with much less to it if I had to run everything 100-percent manually. Happily for me, the MQ80 does a great job receiving timecode.”

Not surprisingly, Birsa tried to complete as much of his show as possible before he got to the festival site. However, intense sunlight, forced him to make some late adjustments, working while the temperature outside reached 39ﹾCelsius (over 102 Fahrenheit). He notes that being able to connect the MagicQ MQ80 over a network was essential.

“What helped me on the day of the show was morphing the heads on my laptop,” he said. “I was able to import all the colour and beam palettes from other shows with the same lights and then transfer this show to MQ80 and check  the cues with the help of MagicVis on another computer.”

Encountering last minute challenges when working for Dubioza Kolektiv is nothing new for Birsa. He’s run into surprises at other points in his ten years of lighting the band. But like everything else in Birsa’s history with them, these are things he learns and grows from. The end result  is a timeline of shows that get better and more original with age, all without forgetting the past.

It may be surprising to learn that even prestigious office developments built in the 21^st century are now in need of refurbishment. Whilst many such buildings still deliver visual impact for people walking by, the experiences of those working in these spaces may not be quite so positive. This may be because of how the space is now used and who is using it has changed and the internal areas no longer meet the needs of the current occupiers. In addition, improvements in not only our understanding of the importance of light, but also the advancements made in technology to deliver and manage light levels mean that when a refurbishment is planned, reviewing and refreshing the lighting are key components. Amongst several major sites in London currently undergoing refurbishment is One London Wall Place, in the Barbican, which was designed by Foster & Partners and constructed in 2003 to provide 200,000 ft² of highly specified office accommodation.

Having already completed a refurbishment of three upper levels in the building, Collins Construction was tasked with rejuvenating the ground and first floor reception areas. The existing main ground floor double height entrance space lacked any inspiring features and had poor inefficient and ineffective lighting provided by ceiling mounted down lights which required regular maintenance due to the metal halide lamps fitted. The goal was to upgrade both reception areas whilst minimising disruption to tenants in the fully occupied building. This meant that one reception had to be kept live throughout construction with a detailed programme in place to ensure this.

LSR Electrical, working in conjunction with Complete Lighting Services (CLS), were tasked with delivering the architects vision of new feature lighting that would look like suspended planting within the main entrance. Daniel Pritchard, Contracts Manager, LSR Electrical explains more; “We have a long- standing working relationship with CLS lighting so we approached them to come up with a custom-built solution to achieve the design. The first step was to build a life size mock up, on site, to illustrate the impact that these bespoke lighting fittings would have in the reception area. We also involved a specialist planting company to mock up the planting selection.”

When designing the luminaires, CLS had to consider not only the height of the reception area but also the high light level output required. Rob Davies, CLS, said; “We came up with a design that featured 10 bespoke luminaires. Fabricated from steel, each measures 1.5m square, is 300 mm deep and when the planting is included weighs 115k. Each luminaire is suspended six meters above ground level, with a set of 8 suspension wires.” Offering far greater energy efficiency and performance than the previous metal halide fittings, the new lights contain Tridonic‘s proven – LLE 24x560mm 1300lm ADV 5 linear LED board along with the associated LCA 50w one4all driver. Together these components not only deliver high colour consistency, flexible configuration and improved energy efficiency but they also deliver a minimum of 72,000 hours of light and carry Tridonic’s five-year guarantee, negating the need for regular maintenance. However, the faux plants supplied by Fake It Flowers Ltd and installed within removable trays, will still require dusting once a year!

“There is no doubt that the new lighting design has provided a real feature to a once empty space and draws the attention of passers-by as well as those entering the building and using the escalators to reach the upper floors. The new lighting has improved the environment and provides consistent and correct lighting levels;” commented Pritchard. The full refurbishment project was valued at £1.3 million and was completed in the summer of 2020.

So, whilst London offices may not be quite as busy as they used to be, those currently using One London Wall Place, or planning to return, after months of home working, are assured of a bright welcome.

With input from over 3,500 exhibitors, buyers and partners, Spring Fair, the Home & Gift show, has announced that it will become a four-day show. The new show dates run from Sunday 6^th – Wednesday 9^th February 2022 at NEC Birmingham and will include the introduction of late-night openings until 7.30pm on the Sunday and Monday.

Simon Lau, Event Director, Spring Fair, says: “After extensive research, analysis, and collaboration with over 3,500 exhibitors, buyers and partners, we have taken the decision, which reflects industry opinion and buying behaviours, that Spring Fair will become a 4-day show. We have listened to our customers who had overwhelming feedback that the show was a day too long.

“Buying behaviours have changed in recent years and visitors have communicated that they welcome a 4-day show and that a more condensed few days with the same number of talks, demonstrations, and meetings would make it a more dynamic and action-packed event. We are also really pleased to introduce two late night openings. A trend common in retail already, the additional opportunities to trade will greatly benefit visitors attending for one day only.”

Sarah Ward, CEO, The Giftware Association says in support of the new show dates: “We are thrilled to hear and fully support that Spring Fair is evolving to a 4-day show from February 2022. This change has been a long time coming, driven by collaboration and feedback from the community with the aim of delivering a better return on time and investment for both exhibitors and visitors alike. Spring Fair is still the largest and longest home and gift trade show in the UK, and I’m excited by the prospect of late-night shopping!”

Jeff Moody, Commercial Director, Bira adds: “Bira welcomes Spring Fair’s decision to change the length of the show from the usual five days to four days from February 2022. Both retailers and exhibitors have asked for this so that they can better concentrate their time and resources into a focused four days. This is a great example of listening to what your customers want and delivering it – well done Spring Fair.”

With feedback from customers directly shaping the show’s priorities, initiatives being rolled out place even greater focus on newness and delivering improved Return on Investment and Return on Time.  Four key destinations offer Gift, Home, Fashion and Sourcing, with Gift and Fashion set to be the largest gathering in Europe providing a one stop shop for buyers to source the latest products.  Curated Meetings will offer dedicated networking and facilitated, pre-approved and pre-booked meetings between exhibitors and buyers.

Helen Cottrill from Spring Fair exhibitor ENESCO highlights the positive benefits; “A four-day show makes total sense to us, we have no doubt that the customers will visit within the revised time frame, and this will have a positive impact on the traffic on Tuesday and Wednesday. Ending the show after a busy last day leaves us with the Spring Fair buzz long after the show. Longer opening hours in line with the European shows allows us to hold more social events at the end of the day and also maximises the time the one-day visitors have at the show. All in all, a positive move by Hyve, the Enesco team cannot wait to get back to trade fairs.”

Andrew Daniels from RSW International also welcomes the change; “We are very pleased to hear that the show is moving to a 4-day only event. Having been an exhibitor at the Spring Fair for over 30 years we have seen the need for this move for quite some time. Buying habits have changed as has the landscape in which we sell over the years. To this end we see it as a very positive step taken and as a business look forward to being truly focused, prepared and ready for what we now expect to be a very busy and rewarding four days.”

Nigel Waller from Art Marketing adds; “Moving Spring Fair to 4 days is positive for our industry and will certainly generate busier days throughout!”

The four-day show and late-night openings have also been welcomed by retailers. Sarah Laker, Owner, Stationery Supplies says; “I think it’s a great idea, one less day being away from the shop. The late-night shopping will be perfect for those of us who have a lot of buying to do but are limited on days – a win-win for me.”

Georgina Hustler Sutton, Owner, Antique Rose & Maison Rustic adds; “It always feels like I’m the last person in the show still placing orders at 5pm so I love the idea of being able to shop the show for a little bit longer each day, whilst giving me one less day away from the business. This will really work for me.”

For further information please visit: www.springfair.com.

PLG26 Corrosion Protection of Minor structures

Technical Report 26 (TR26) Painting of Lighting Columns was published in 2003 and additions have been made to it over the years such a root protection and galvanising guidance, but the core document has remained the same until now.

Fresh from the printer, ILP now have Professional Lighting Guide 26 (PLG26) Corrosion Protection of Minor Structures. Lighting columns, sign posts and the like are classified as minor structure in Design Manual for Roads and Bridges so it only seems fitting that the revision should reflect this change.

This document will be of use to all those considering improving or constructing minor structures such as lighting columns, sign posts, cctv columns and masts on roads, car parks, rail, docks, harbours and airports. In fact, it’s a document that can be used in a wide range of similar situations for public sector, retail, commercial and leisure industries.

PLG26 is a vital publication aimed at civil engineers, exterior lighting professionals, asset managers, contractors, professionals, designers and manufacturers. It provides a comprehensive and impartial guidance on a wide range of corrosion protective systems, their preparation, application and maintenance.

You can find out more information and order a copy online here: https://theilp.org.uk/publication/plg26-corrosion-protection-of-minor-structures/

ILP members can view it for free here: https://ilpportal.zenzero.co.uk/Account/Login

Parrot PR and Marketing and Archifos are delighted to launch The Silhouette Awards. The awards programme, with a difference, will shine a light on emerging talent within the lighting industry and support them as they progress throughout their careers.

Focused on providing support to young professionals, the Silhouette Awards will provide a platform to showcase young industry talent offering much-deserved recognition and publicity for their achievements to date, followed by six-months mentorship with a senior lighting professional.

The Silhouette Awards has seen significant industry support, with supporters including apdi, Designers Mind, IALD, Lightecture, Skills Army and the SLL. Sponsors to date include Delta Light, Filix Lighting, formalighting and Vode Lighting.

The awards are looking for the industry’s rising stars who have the vision and ambition to steer and lead the industry in years to come. Shortlisted nominees will be invited to an interview led by an expert panel of judge mentors, comprising senior influential lighting designers who are on the lookout to nurture young talent and help other likeminded individuals benefit from their own personal experiences.

Not only will the winners receive the recognition they deserve with this accolade, but they will also be awarded a six-month mentorship opportunity with one of the esteemed judge mentors to enhance their skillset, progress their career ambitions and add real value to the creativity of the industry, raising the bar for talent around the world.

The panel of judge mentors comprises of a dynamic group of senior lighting professionals from across the world, all aligned with the vision of giving back to the industry. Our impressive line-up of Mentors are Melissa Mak, Marcus Steffen, Suzan Tillotson, David Gilbey, Dario Nunez Salazar, Monica Luz Lobo, Linus Lopez, Beata Denton, Fernando Mazzetti, Sam Koerbel, Lara Elbaz, Anna Sbokou, Rouzana Kopti, Ruth Kelly Waskett, Martin Klasasen, Star Davis, Michael Grubb, Marci Song, Jonathan Rush, and Victor Palacio.

The Silhouette Awards offers something for everyone, including high level sponsorship and partnership opportunities, in addition to global recognition for the outstanding talent of the world’s top emerging lighting designers.

Eve Gaut, Founder, Parrot PR and Marketing commented, “We felt there was a real gap in the market in rewarding and supporting the latest talent in our industry through something more than a conventional awards programme. As a mentor, I feel strongly that young people should be supported, and given the opportunity to rise and excel further, so the Silhouette Awards seemed the perfect project for Parrot and Archifos to collaborate on. We have a shared passion to nurture young people, and to give back to the industry we love so much. We feel confident the Silhouette Awards will deliver just that!”.

Katia Kolovea, Founder, Archifos, added “Having been recognized for my commitment to the industry at a young age, I strongly believe there needs to be a platform for the rising stars of today. And one that goes beyond a trophy, but offers continued support.

“Receiving recognition early in my career proved to be invaluable to me, and my future endeavours, and I hope the Silhouette Awards will also provide others with this opportunity to shine, build confidence and discover their professional potential with the support of their mentor. Mentorship is important for growth in all aspects of life and the mentor-mentee relationship is vital for everyone to experience. This is an ideal collaboration for Archifos and Parrot. Two businesses striving to deliver the same mission, both with complementary skills.”

To find out more about the Silhouette Awards and how you can get involved in this all-new awards programme, contact info@silhouetteawards.com.

Multiple Grammy award winning Kelly Clarkson has rocked the foundations and redefined daytime talk show television with her award-winning, high impact “The Kelly Clarkson Show” (TKCS). The one hour syndicated daytime show produced by NBCUniversal Syndication Studios is an energetic mash up of chat, stories, opinions, humor, and surprises involving an array of interesting guests, personalities, and celebrities. And, and as you might expect from this massively successful singer / songwriter, a healthy blast of superlative music!

The pleasure and the pressures of lighting this dynamic and ever-shifting environment recorded on Universal Studios in LA’s Stage 1, has been down to Darren Langer of DCLighting, a lighting design and direction practice also based in LA, specializing in television and multi-camera environments. Their work encompasses broadcast, streamed shows and events, awards extravaganzas, talk shows and music-based projects of all sizes.

Darren has relied on several specific Robe products throughout series 1 and 2 of The Kelly Clarkson Show – Pointes, BMFL Spots and BMFL Blades, PATT 2013s, Spiiders and Tetra2s – to ensure that the studios and sets have looked fresh and invigorating every time for this truly unique talk show format.

Each show kicks off with a ‘Kellyoke’, a rousing cover version selected by fans, arranged specially to fit the 1.30-1.45 timeslot by musical director Jason Halbert, and delivered with the dynamic full-force Kelly Clarkson treatment.

Ahead of the first series launched in 2019, Darren was interviewed by the network executives together with several other lighting designer / and director candidates, from which he was selected.

It was a totally new client, so he was delighted to get the job based on DCLighting’s vast and rich creative portfolio of lighting music and talk show projects over the years.

“One challenge with this one was the truly multipurpose nature of the lighting required,” explained Darren. It demanded a fine balance of musical performance and expression juxtaposed with the more structured approach of a daytime talk show.

He knew immediately the lighting design would have to be uber-adaptable, and Robe products immediately entered his thought process.

In addition to his own ideas, Darren took initial creative inspiration from production designer James Pearce Connelly and director Joe Terry together with executive producer / showrunner Alex Duda and her producing team, MD Jason and the outstandingly gifted house band, “My band y’all”.

Together they all contributed to setting the tone of the show, which is lively, upbeat, and energized.  “They are all amazing people to work with,” he states, detailing how they developed a fluid visual language by collaborating closely.

“This was the only way to produce a product with the quality and finesse we desired,” and also not possible without great support and much patience from ‘executive in charge of production’, Jonna Walsh.

With flexibility at the essence of the lighting, Robe products ensured “we had capacity to transform instantly from a sharp, animated daytime talk show set to a sexy after-dark ‘musical dream’ at any point,” says Darren … and switch back instantaneously at the push of a button!

He also needed to create a space where viewers – both live for the start of the first series – and then onscreen as the pandemic sent the show digital – would be continually astonished at the visual transformations and enthralled by what might come next, keeping it fresh and different.

Season 1’s lighting had eight Robe BMFL Blades and eight Pointes permanently installed, and these were augmented with more Robe specials, depending on the songs and action of the day.

Frequently used fixtures included PATT 2013s 15 x Spiiders, and 24 x Tetra2s, all; supplied, together with the rest of the lighting equipment, by Illumination Dynamics.

Fixture positions varied constantly around the studio, but “these Robes they were fundamental to each show,” said Darren, giving them almost infinite options to create different looks throughout the season. The goal was to never repeat the same look!

Darren picked Robe fixtures generally for being “bright, fast, clean, with fantastic color options, great flat beam fields and for the sheer versatility.”

He maximized the Pointes in particular as they can do equally good wide and narrow beams and have an endless array of in-air effects and fast movement perfect for floor coloring and texturing, and for fast color chases and movements. “We’d often hang them and even use as back-light on the artists for creating moody silhouettes and other trick-of-light gags!”

The Spiiders were another multi-tasker with lots of different beam effects and quirky pixel and graphic effects possible on the LEDs. They were also excellent floor washers, back-of-shot eye candy fillers and different shapes.

Two RoboSpot systems were an invaluable asset to the show, both run by Chris Nelson. The BMFL FollowSpots being remote controlled were positioned one over the audience and one above ‘home base’ where Kelly usually sits for interviews, allowing pick ups in any part of the area that the host or guests would generally roam. The two base stations were located side-by-side backstage enabling Chris to easily swap between as needed.

Darren has used Robe products for many years before TKCS. The BMFL became a workhorse for a series of awards shows they were lighting with one of Darren’s major mentors, the legendary Allen Branton.

These and all the other lights in the studio were controlled via a grandMA2 console.

The schedule was intense. They recorded two shows minimum a day for 30 weeks working three to four days a week, with the lighting rig changing weekly and sometimes even daily, de-rigging and re-rigging to get exactly the right fixtures for the specific action each time.

After the timeframe, programming was the next most galvanizing task throughout the two series for which Darren had input from a fantastic team over the period comprising Andrew Law, Brian Larsh, Brandon Dunning, Jeff Handke, Felix Peralta and Tyler Glover.

With the two performances recorded each day plus guest slots and performances, interviews, demos, games and special themed shows, time was “never on our side” says Darren, although they were all fully geared to working at lightning speed, smashing deadlines and keeping pace with the skills and talent of Kelly and her band, in addition to constantly popping out ideas to make the non-performance segments look exclusive!

The lighting department was also controlling a media server that dictated most of the screen content, so, with the assistance of technical manager Eric Feder, they didn’t miss a beat!

For Darren, the most enjoyable parts of TKCS were working with a truly inspiring host and “so many people with great energy.”

The icing on the cake for Darren and the DCLighting team was winning the 47th Annual Daytime Emmy for Outstanding Lighting Direction for the show in 2020 (for the 2019 broadcast year) and being nominated again for the 48th Annual Daytime Emmy in the same category for the 2020 broadcast year.

Furthermore, he won the Newscast Broadcast Production Award for ‘Entertainment Lighting Design’ for the show’s 2019 and 2020 broadcast years.

Darren is the first to credit his “incredible” team for their vital contributions to gaining these accolades, and this includes Kirsty Robson, DCLighting’s VP of Production who handles all the logistics, marketing, communications and client networking, and gaffer Andy Anderson who installs the different lighting designs each day.

Andrew Gonzales is their proactive lead tech, looking after the lighting system as well as multitasking as best boy, ensuring the gaffer is happy as well as managing all the rental ‘specials’ in and out daily! Morgan Evans and the late Carlos Colina were also integral to the drafting and visualization part of the process.

TKCS airs on multiple stations across the U.S. in 100% of the country and is anchored by the NBCU station group. Season three will be starting shortly and the NBC owned Television Stations Group has just announced that ‘The Kelly Clarkson Show’ will take ‘The Ellen DeGeneres Show’ timeslot on the ten NBC-owned stations carrying both programs once Ellen finishes in 2022.

Photos by Weiss Eubanks, NBCU.

There is a liberation that arises when reality is turned on its head; and the familiar is cast in new forms to become something strange and uncertain. Great artists like Picasso and Dali tapped into this powerful force, upending convention to give rise to bold, new takes on “reality.” So too has Marta Minujín with her provocative work “Big Ben Lying Down With Political Books.”

A centerpiece of the renowned Manchester International Festival, her work takes the iconic London landmark and turns it on its side in Piccadilly Gardens. Stretching 42-meters and reaching as high as 8-meters in some places, the structure commands immediate attention.  But the Argentinian pop artist had more than novelty in mind when she created the distinctive structure.

Covering the tower are 20,000 books donated from various Manchester groups. Representing a range of literary eras and styles from Marx’s Das Kapital to Marcus Rashford’s You Are A Champion, the books have been selected for their roles in shaping Britain’s culture and influencing its future. Collectively they serve as a source of reflection for the nation during a time of profound change with COVID and Brexit.

Adding greater impact to the tower are 36 CHAUVET Professional COLORado Panel Q40 fixtures supplied and installed by Keyteq Live Events.

Keyteq, which has been involved in the Manchester International Festival for a decade, and handled two other exhibits in addition to the Big Ben work this year, arranged the rectangular RGBW wash fixtures in a line on either side of the walkway that ran down the middle of the tower. (A film by Minujín was shown inside the structure on screens supplied by Keyteq.)

From their position flanking the walkway, the COLORado Panel Q40 units created an alluring glow around the tower.  This endowed the exhibit with an other-worldly aura that added to its evocative, thought-provoking effect.

“The COLORado Q40’s were placed very low so as to hide the hot spot, as the structure is  almost transparent,” said Ian Chandler, Director of Keyteq. “From this position they were very effective at making the structure glow at night. Per the specifications of the artist, we used them for white light only throughout the fair.”

In addition to being impressed by  output and smooth even field of the COLORado Q40, the Keyteq team valued its all-weather feature.  “It was very important to us that this is an IP 65 fixture,” said Chandler. “Manchester weather is known for its wet summers. We’ve already has some torrential rain during the fair.”

After the rains, when the grounds around it are wet, the white glow of “Big Ben Lying Down With Political Books” becomes even more surreal as its lights glisten on the damp surface. Is this the stuff of dreams? Perhaps, but in any case it has upended reality, and in the process revealed things more clearly.

In view of the ongoing COVID-19 situation worldwide, it is with regret that Showlight has decided to further postpone the popular lighting quadrennial in its traditional form. Showlight chairman, John Allen, explains the reasons behind the decision:

A Letter from the Chairman

The Showlight committee has been reviewing the current state of our industry and the effects of the Covid pandemic on employment in many of our theatres, conference centres, touring venues, and within our manufacturing and servicing companies.  We have also considered the difficulties and unpredictability of travel bans, quarantining and the effect of Brexit, and none of our conclusions are encouraging.

As a result, we have reluctantly decided that a traditional Showlight in 2022 at Fontainebleau is not viable in any form so a further postponement will be necessary, and we will reconsider our options for Showlight 2023 next Spring, ideally to take place in Fontainebleau as previously planned.

Our main considerations when reaching this decision revolve around a number of major concerns.  Showlight delegates come from many branches of our industry and we fully appreciate that those who are freelancers or part of teams within performance spaces may not be able to spare the time or even afford to attend if they are finally back in any kind of regular employment after long periods of inactivity.

Others who work in studios and on film sets or in servicing and supply may also find that they cannot be spared from work places if the industry is beginning to show signs of new growth.  Our sponsors and exhibitors too, on whom we rely for financial support, may also be finding times tough and in need of a period of revival before being able to actively take part again in a live Showlight.

Added to all this, the Showlight committee, who are mainly based in the UK, although there are also members in the US, France and Germany, need to plan all aspects of the event and onsite meetings and visits to the locality are necessary.  It is hoped that the requirements for quarantining will be lifted soon, but current restrictions on travel, new visa requirements and simply planning catering and the social side of Showlight with local companies, who are also experiencing problems of Covid, simply add to the difficulties of organisation.

Showlight will return again in all its glory just as soon as possible but until Covid can be controlled and we are back to a better time for the lighting industry, we have to wait in the wings.

John Allen
Chairman
Showlight

Website: www.showlight.org
Facebook: @showlightevent
Twitter: @Showlight2021
LinkedIn: @showlightevent

Between June 28th and July 24th, 2021, Janet Echeman’s 1.8 sculpture will be exhibited in the Supreme Court Gardens in Perth, Australia. This is the first time one of Echelman’s artworks has been seen in Perth and is only the second time her work has featured in Australia.

This stunning suspended artwork spans over 1,700 square metres and replicates the pattern created by a significant earthquake event in 2011.

The sculpture combines fibre, buildings and sky combined with coloured lighting. The fibres are braided with nylon and UHMWPE (ultra-high molecular weight polyethylene) and the dimensions of the net are 30.4m length x 13.7m width x 6m depth.

This immersive experience is impressive both in the day and night, when it comes to life with a projected light show at 5.30pm, highlighting the artworks kinetic movements.

Showscreens project managed, designed and installed the rigging for this incredible piece, with the lighting supplied by Lux Events.

Fortunately, Lux Events recently took delivery of sixteen Prolights PanoramaIP WBX high-output LED wash lights which were perfect for the project particularly as they are IP65 rated. Delivering a massive output with a huge colour range, the Panorama IP WBX fixtures effortlessly wash the sculpture night after night.

“We’ve been getting more requests for lights outdoors and previously we had made some IP-rated boxes but these are certainly much easier!” commented Dave Trapp, managing director of Lux Events. “We checked with other production companies who own them and they confirmed that they are a very reliable product.”

Lux Event’s Frans Jansen was in charge of lighting the 1.8 project revealing that the artist was not overly specific on the lighting requirements.

“In the beginning, there wasn’t much of a brief however I looked at previous installations of 1.8 online,” said Frans. “On programming night I spent quite a bit of time getting the positions right and focusing lighting before seeing which colours worked best and creating cool effects. The majority of the artwork is lit with static lighting although there are a few movement effects. After we’d programmed a few sequences, we sent a video to the artist for feedback which resulted in the updating of some cues.”

The artwork hangs off four trusses that were also the only positions for lighting and so each truss holds four Panorama IP WBX. The fixtures are exposed to the elements for four weeks and so far they have performed amazingly.

“They have already survived an unprecedented amount of rain without a hitch,” added Frans. “They are an incredible fixture! They have some serious power in them especially for longer throws and being an LED fixture, they punch hard.”

To date, the 1.8 sculpture has been installed in: London, UK (2016), San Diego, CA (2016), Mexico City, Mexico (2017), Beijing, China (2017), Xian, China (2018), Green Mountain Falls, CO (2019), and Perth, Australia (2021).