Refracted Intersection uses two overlapping spotlights, with a magnification film that is bent into a cylindrical segment and posted to the wall inside the intersecting light. The two lights fade between blue and orange hues, consequently creating white in the overlapping section. The magnifier refracts the light onto the wall, which is focused into a luminous impression of the light’s path. The abstracted projection of refracted light looks three-dimensional, loosely resembling a cylindrical form.
The visual, while simple, is similar to (and simpler than) Nam June Paik’s TV Magnet (1965). This work features a CRT television and large horseshoe-magnet that deflects the electron-beams used by the cathode ray tube; effectively distorting the output on the screen. Paik used a simple method to compose a complex phenomenon that allows the audience to visualize the magnetic manipulation. With a masterful curation of materials, Paik revealed the nature of the components. In this way, I hope to show the phenomena of light and sight; things often seen, but seldom said.
The magnifier film – in Refracted Intersection – slightly bulges outside of the intersecting spotlights, so that blue and orange edges contour the visual. The refracted impression is horizontally-mirrored because of the convex nature of the bent magnifier, which forces the light to intersect. When the audience moves around the sculpture and views the magnifier, different visuals are perceived depending on the vantage point and roundness of the film. Light strikes the film, refracts through it, reflects off the wall, refracts through the film again, then strikes our eyes. With a change in vantage point, the varying angles of refraction and reflection become noticeable enough to distort the visual.