Sunday, March 12, 2017

White Light

Shuttling backwards and forwards to Eastbourne on Saturday, ferrying kids to various activities, I was struck by how different the light could be over a stretch of 10 miles. The faint amber glow of warm spring sunlight up on the ridge above the Pevensey Levels soon turned to a smoky haze on the marshes and then numerous shades of grey that blended sea and sky as I reached the misty coast. Later in the day, the sun had conquered all and the sky was iridescent violet and peach.

With light on my mind and time to kill before my final pick-up, I was able to pop in to the Towner and view its current exhibition, A Certain Kind of Light. I always enjoy the hour before closing at a gallery as you can usually have the space pretty much to yourself; yesterday was no exception. Bringing together artworks from over six decades, the exhibition shows how artists have explored various aspects of light, from its power as a source of energy and illumination to its transient and transformative nature.

If the range of responses is broad, so too is the diversity of form: encompassing sculpture, installation, video, photography and painting, the exhibition is a stimulating and satisfying experience. David Batchelor's Festdella, a festive tower of illuminated coloured plastic bottles, greets you at the door signalling the warm and celebratory quality of illumination. I spent 10 minutes at Anish Kapoor's untitled mirror trying to work out whether it had a flat surface that gave a three-dimensional illusion or its concavity actually penetrated the wall; the notes suggested the latter but whichever it was, there was a typically enigmatic depth to the work.

Rachel Whiteread's semi-translucent resin cubes are more an exploration of space than light; moulds of childhood hiding places under chairs, they are reminiscent of her 1993 work, House, that mourned the lost space of the interior of a demolished house. Kate Paterson's Totality, a mirrorball reflecting eclipses around the gallery space was disorientating, as was Runa Islam's video loop of a photographic negative of a woman's intense gaze.

More traditionally, I enjoyed Roger Ackling's patterns of sunlight burnt with a lens onto driftwood and TV Room, Paul Winstanley's almost photographic monochrome painting of light reflecting from the screen and ceiling in a deserted television room in a University of London hall of residence. Another painting that stood out was Elizabeth Magill's haunting study in oils, Without, a deserted and darkened landscape lit only by the stars in the night sky.

As the five-minutes-to-closing announcement was being made, I had just reached the final painting. L.S. Lowry was famed for his populated industrial landscapes of his native North-West, but in later life he crossed country to paint a series of seascapes inspired by the North Sea. Seascape 1965 contrasts the grey of the sea and sky with the bleached crests of the breaking waves and an intense white light that radiates out from the barely perceptible horizon. For all its desolation, the light seems to signify that hope is out there somewhere.

A Certain Kind of Light is at the Towner Gallery, Eastbourne until 7th May 2017; admission is free.

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