After all, weather conditions should not affect this extraordinary performance. “This gives us additional security for this time of year. As the installation takes place outdoors, Ryba mentions another great feature of the automated LED fixture which is the anti-fogging lens system. The light output of 25,000 lumens, a color rendering index (CRI) of 96, the linear color mixing system and the DMX networking capabilities were all convincing arguments to choose SolaFrame 3000 fixtures. I think this is the best choice for ‘Earthtime’.” “We decided on the bigger brother of the SolaFrame 1500 and selected the SolaFrame 3000 with high fidelity engine. Ryba already had extremely positive experiences with the SolaFrame 1500 which he has used frequently in the past and recognized that he needed even more powerful light output for this art installation. With this in mind, only ETC products were the answer for Ryba, specifically the High End Systems SolaFrame 3000 moving lights. “The artist doesn’t want any hard edges, so we have to be very careful with the use of light and of course make sure we choose the most suitable lighting systems.” “We have prepared ourselves long and hard for this project,” says Ryba, the head of Vienna-based company A. The angle of the beam of light and its direction must therefore be precisely matched to the mesh sculpture,” says Krobath.Īustrian lighting designer Andreas Ryba was entrusted with the lighting design for ‘Earthtime 1.78 Vienna’. “Due to the transparent material and the fishnet-like structure, the light intensity plays an important role so that the light is visibly reflected, and the nets can be perceived as floating bodies of light.
The degree of lighting, the color of light and the change from light to dark influences the environment and the people looking at her sculptures.”
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The work of art unfolds its full magic in the evening through sophisticated illuminationĬurator Klaus Krobath comments on the use of light in her work: “Light is a significant element in the work of Janet Echelman and in the staging of her installations of art.
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With her series of sculptures in ‘Earthtime’, she wants to raise awareness of the connection with one another and with our physical planet, using strong colors and soft curves to highlight this.
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Echelman is known for her gigantic net sculptures and combines ancient crafts with original computer design software to create works of art. Yet the enclosed space, bounded by wall and ceiling, does not seem to suit her fluid artworks. With ‘Earthtime 1.78 Vienna’, the artist refers to the geological event, the tsunami in Japan in 2011.Įchelman has nothing against museums. Echelman’s hanging sculptures – moved by wind and weather – perform gently undulating choreographies. Using unusual materials – from fish nets to finely atomised water particles – Echelman combines traditional craftsmanship with complex processor architectures. ‘Earthtime 1.78 Vienna’ is illuminated with a powerful and balanced light that draws soft lines even in intense colours like blue and red but even in delicate pastels. Janet Echelman and our bond with this planet Her art meanders at the intersections of light and art, between architecture, urban planning, material science, computer science and civil or aeronautical engineering. Janet Echelman transforms public places around the world with her giant net sculptures.
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