Radial Perimeter pushes the format of moving visuals by the gradation of offset colors. Undulated reflections cast from a ring of reflective film that encapsulates a spotlight. The film’s elliptical-frame is mounted to the wall, and the film is slightly concaved towards the center point of the circle. With the base of the film perpendicular to the wall, the wrinkled reflections are focused in high clarity, as light spills from the ellipse’s edge.
The seemingly-static composition is brought to life by a slow transition between hues. The LED-spotlights separate the color-channels (red, green, and blue) by quadrants in the lamp. The subtle shifts between primary-colors consequently oscillate the light source’s vantage by about an inch. While the light’s altered perspective is subtle, the fading transitions between colors provide motion, exaggerated by the reflections.
With consideration for the renowned Modernist and master of light-based installations, Robert Irwin composed an illusory sculpture, titled Discs (1968), that appears to have no edges. A large plastic disc – formed into a convex lens – props off the wall with metal mounting, and four lights projected onto the sculpture. In the book titled “Seeing is Forgetting the Name of the Thing One Sees,” author Lawrence Weschler notes that the lighting is critical to the perceptual experience of the illusive visual, which requires “even, ambient, natural daylight, without any supplementation” (page 103).
This work by Irwin relates to Radial Perimeter, with a push away from the conventional restrictions of a frame and the blurred realities of the object. Through the careful combination and composed interaction with the object, an essence of light and sight is revealed. The shadows in Discs become more real than the disc itself, and – similarly – the reflections in Radial Perimeter transcend the film.