Painting
with Light (cont.) 
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 In 1965, unaware of any of the previous work mentioned above, while working with brushes, pigment and other conventional materials, in the general style called action painting or gestural abstraction, I made my own discovery of the electric wall plug via the transparent overhead projector and began working with light (projected imagery) and music. This was for me a natural extension of the techniques and purpose of action painting including a direct spontaneous method of working. And so, while the traditional elements of painting continued, several important new factors had to be dealt with, including: (1) the orchestration of time; (2) impermanence; (3) scale [amplification] (4) relationship to music; and (5) relationship to viewer-observer. The transparent overhead projector has certain qualities that have allowed development in a direction, in some ways quite different, from most of the light art previously cited. In particular, the flat surface above the condensing lens allows for the direct application of materials during projection. Unlike film or the projection of slides, the painter is able to work directly with color and other materials in a manner similar to drawing and painting techniques. This light art, like music, unless recorded, is totally impermanent. "Action painting that ceases with the action." Painting that exists only during the time of its creation. This "orchestration of time" becomes as important for the painting as for the musician. The relationship of space-amplification (very similar to the musicians' use of sound-amplification) becomes significant and allows the freedom of scale sought by painters in action painting. The small works of Wols, as well as Klee and Kandinsky, are similar in scale to the working surface of the overhead projector. And at the same time, the scale of immensity developed by Pollock, Kline and others was further extended by the properties of projection to allow for large surfaces of "instant art". These qualities of momentariness, impermanence and free scale required a new painter-viewer relationship. This is an art form in which the artist and viewer share an immediate experience, where composition, execution and presentation occur simultaneously. My work with light art and projection has followed two parallel directions in realizing the possibilities of projected imagery with music. The principal difference is not so much the purpose or techniques involved, but more specifically the attitude of the viewer-listener, which can be defined as active or contemplative. In the natural evolution of studio work the observer assumed a contemplative, passive role common to previous painting and music. The other situation involves physical participation and is more related to happenings and "events" art, and culminating in the original SF rock dances at the Avalon and Fillmore. < previous | next > |
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© 2001 Bill Ham