Forms in Space…by light (in time), an installation by Cerith Wyn Evans
Tate Britain Commission, 28 March – 20 August 2017
When walking into the Duveen Gallery at Tate Britain in London, I was confronted with a juxtaposition of neo-classical architecture with a manifestation of neon lights in the space. I immediately felt the needed to stop and gaze in awe and give myself some time to take it in. Cerith Wyn Evans’s installation of apparently random curves, loops and lines is almost 2 kilometres long and is an exciting, surprising discursive experience that gives the viewer space to contemplate.
Cerith Wyn Evans was born in 1958 and started his career as an experimental filmmaker. He now uses installation, sculpture, photography, film and text within his work. Wyn Evans shows that drawing in space with chandelier sculptures of light influenced by concerns with space, melody, harmony and form is comparable to a piece of music or poetry. The work is inspired by Japanese Noh Theatre, and Duchamp’s [=The Bride Stripped Bare by Her Bachelors, Even (the Large Glass)] of 1912 to 1923.
The installation has a chronological feel that is translating movement into form, where boundaries of perceived time and space overlap. The three-dimensional drawing invites you to deconstruct a journey of dipping arcs and twists through space.
The sculpture appears to move as you move through the space. Distortion and torsion twist in space are like colliding systems and particles. Wyn Evans visited the Hadron Collider several times; I’m sure this must of made an impression.
Cerith Wyn Evan’s work is a materialisation of space and has a reservoir of possible meanings and ideas. The work creates a state of mind which is productive for thoughts to grow. The zooming trajectories collide with thoughts opening the mind of the viewer to complexities of life, creating a proposition to ponder your stream of awareness.