From Gallery to Home: Incorporating Art Gallery Vibes with Wall Art

To master this language takes time, And a keen eye for the light and the dark. But once you do, you will have a tool that can create beauty that is truly unique! 

 What we see with our eyes is with the help of light. The absence of light is what causes a shadow! The foundation of what constitutes art is this contrast between light and shadow.   

As kids, we found pure joy in crafting shapes with sunlight’s gentle touch. Our fingers gave life to forms, an artful tale whispered without words. They skillfully shaped the sunlight into complex shapes, creating mesmerizing silhouettes that looked like works of Wall Art.
In light’s absence, colorful shadows told unique stories, turning the wall into our canvas that mapped our way to become young artists.  

Every object that we can see is with the help of light which means it’s casting a shadow and a highlight area. This helps us in understanding planes and surfaces of an object. The comprehension of this Wall Art concept is how we put our pens to paper.  Even though I am a trained artist, it took me years to really understand this concept. The notion of light and shadow is easily understood, yet its practical execution presents a whole new challenge. To construct three-dimensional objects, both in reality and on paper, it’s essential to grasp the core of light. This involves exploring where it comes from and how it reveals shapes and forms. 

I’m writing my first blog post to encourage first-time artists to take their first strokes on paper, just like I’m taking my first strokes with words. I used to stand before the blank paper, feeling its weight, unsure of where to start. Eventually, I conquered this fear by filling it with diverse objects, shapes, and forms. 

Now, after 15 years as an artist, I confidently stroke the paper, unleashing my imagination.  

Recently, I traveled to Berlin for a short break. I went to explore an exhibition called Dark Matter. It was an amazing audio and visual experience. There were seven rooms, all pitch black except for the light coming from the installations themselves. 

I was thrilled to experience each of the rooms. 

The first room I called the Infinite Light Room. It was filled with LED lights all over the ceiling and walls, which were mirrored. This created an infinite effect that made me feel like I was in a different space and dimension. 

The next room was mesmerizing. I called it the Droplets Room. There was a white light screen at the back of the room, and black round balls were suspended from the ceiling. The droplets were breathtaking as they moved with different cinematic sounds and textures. It was an audio and visual delight. 

The third room was called Mood Rings. It was once again completely pitch black, except for three rings of different sizes interlocking into each other. Each ring had a ring of light on its edge. The rings changed from cool to warm tones of color light, giving the room a sense of peace with its musical sounds and tones. 

The fourth room was confusing at first. It was pitch black, except for a small source of light through which I could see three ladders. I touched the ladder just to climb it, and suddenly a beat started to play. As I climbed higher, more musical notes started to play. It was almost like a drum set, but each step had a different sound and beat. I could mix it up and make my own tunes. This interactive installation was a winner. I called it the Composer’s Ladder. 

All of these experiences opened my mind to what is and what is not, what can be seen and what cannot. Explaining these visual installations in writing was just as exciting as seeing them. This exhibition was a true example of the interception of light and dark with objects and playing with light and mechanisms of kinetic energy. It will be a great source of inspiration for my next Wall Art project. I hope this blog post has inspired you to experiment with light and shadow in your own artwork. Remember, the most important thing is to have fun and be creative. 


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