International artist David Spriggs has filled Messum’s Wiltshire with beauty and light.
Material Light with its centrepiece ‘Vision’ standing six metres high is the Canadian artist’s biggest art installation to date, and David packed a year’s worth of work into four months to finish it.
Exhausted but happy, he said: “I really feel this is one of the best exhibitions I have ever done – it’s a major accomplishment for me.”
Material Light is on exhibition until February 4 at the monastic barn in Tisbury – now regarded as one of the UK’s most exciting contemporary art spaces.
David said: “I abandoned everything to do this. A lot of exhibition spaces try to have neutral architecture, like White Cube, but here I wanted to work with the architecture.
“Here there is a certain calmness which I like. For me, showing at Messum’s is significant – the barn has so much history and the architectural structure really lends itself to this.
“The architecture frames the work and the piece would not exist without the architecture – it’s integral to the space.
“The history gives the work another level – the work becomes almost symbolic or iconic. I don’t think of the piece as being religious but it does have that kind of feel to it as it’s a monastic barn.”
David grew up in Cheshire, moving with his family to Vancouver when he was 14, and Material Light is his first exhibition in the UK. Having been invited to exhibit, David responded with light and beauty, referencing Stonehenge and the area’s unique heritage.
His artworks Polar, Antithesis, Gravity, Enigma and Cloud columns also explore the ephemeral – a direction begun with his first Cloud created in 2000.
For Vision he used an airbrush to paint 15 transparencies which if placed end to end would cover the side of a skyscraper.
He said: “’Vision’ suggests thinking about the act of perception. There is a power relationship with you and the piece. As the viewer walks round it they are building the image in their mind. It’s almost as if form is creating itself as the viewer walks around.
“There is a feeling of contraction and explosion. Even though it’s static it does not feel static – there is constant tension in the energy.
“When you think of what a prism does it’s a transparent form that separates light into different colours. Transparency, colour and power are topics I’m exploring and the idea of the ephemeral and the immaterial. I feel like I’m feeling in the dark and finding an idea.
“I feel there has been an abandonment of beauty in contemporary art – people dismiss it. You can still have beauty and have conceptual meaning. I want people to feel something when they see my work.
“It’s not neutral and if someone walks into a gallery and the first thing they say is they don’t understand it I feel the artist has not done a good job. If art is communication you really have to feel something – it’s not something you have to put into words – it’s a feeling and experience.
He said: “One thing with all my works is when we think of sculpture it is a process with a definite boundary. This has a sense of no boundaries to it. The Futurist idea of the form belonging to everything around it, here becomes a layered space to form and light falls off. Light spills off so there’s no boundaries to the form.”
He said: “I want my work to be positive and to inspire people. A lot of work is doom and gloom and there is no feeling in it.”