Artificial Reality 2384960 2384961 Atmospheric Juxtaposition 2384962 Atomic Sunrise 2384963 Brimming Boxes 2384964 Budding Tragedy 2384965 Clouds Can Deceive 2384966 Closure 11th Dimension 2384967 Collision Course 2384968 Colored Cubes 2384969 Connecticut Countryside 2384970 Arrows 2384959 Color Spasm 2 2384971 RGY Crossing 2384993 Angular Anger 2384958 A New Door Opens 2385878 Digital Love 2384972 Control Of Loss 2384973 Don't Let 'Em In 2384974 Elegant Displacement 2384975 Etched Light 2384977 Exponential Burst 2384978 Fade Back Separation 2384979 Fantastic Treasure 2384980 Giza Delight 2384981 Furling Compression 2384982 Melting Structure 2384990 Evaporating Geometry 2384976 Heat Seek 2384983 Hollywood Sunshine 2384984 Horizon Mystique 2384985 Washed Jewels 2384986 Linear Expanse 2384987 Industrial Smoke Stacks 2384988 Interdimensional Opening 2384989 Quantifiable Differences 2384995 Point Of Focus 2384991 On The Horizon 2384992 Quantitative Pleasing 2384994 Road Less Traveled 2384996 Singular Gain 2384997 After It Rains 2385877 Severe Calming Effect 2384998 Sixty Three 2384999 Sparkling Bliss 2385000 Steam From Red 2385001 The Answer Is The Question 2385002 The Holy Spirit 2385003 They Dance With Shiny Shoes 2385004 Transcending Inputs 2385005 Acceptable Delusion 2384957 Windows On 85th Street 2385007 Organic Engine 2455906 Pushed To The Edge 2455907 Content Of A Dream 2455908 Pink Clarity 2455909

     

“Saturated Luminous Radiation” by David Sokolsky

 

I have attempted to decode and celebrate one of the most intangible things known to mankind; light. This is being done metaphorically of course, the science is still very elemental. Without light life would not exist, it is the basis of everything. I use various processes to manipulate this incredible energy, bending, refracting, reflecting, adding color, subtracting color, and time.

What if we could control light in ways that we currently cannot imagine? To direct it and di-sect it and customize it to do new and impossible tasks? I am composing a “symphony of saturated light” as Mozart and Beethoven have done with sound by creating what we now call classical music. The limitations are the instruments being used as opposed to light or illumination which is boundless and infinite. These images serve as the “sheet music” for the luminous visual compositions that may be called “illuminated sheet music” or “illumusic”. 

In optics, different color electromagnetic radiation spectrums do have varying effects on humans and other living things. I am exploring the different intensities and wavelengths of the light spectrum so we can visualize what we can already see and what cannot see into an imagined form within the color spectrum.

The images are created with a digital camera but are not manipulated with photoshop to make them possible. These images are more or less straight forward photographic depictions of glass constructions. Colors, shapes, and the direction of the light become instrumental in the creation of the images. Lasers will be introduced at a later time. There are environmental locations subtly incorporated into the images but often times there is nothing else but a studio environment that voids any sense of place. The purposeful violent movements of the camera made and lack of camera focus mostly voids any discernible sense of place. These are alien landscapes exploiting the digital camera in the way that it records an image differently than a film camera does.

Every image made was unique and a derivative of the actual glass structured objects. Images became organically enhanced by its unlimited color palette that resulted from reflections and refractions of light. The color palette was also accomplished by the transparency of the colored glass overlapping in many multiples. The process and subject matter was not as important as the incorporation of graphic shapes, patterns, and mostly bold colors. Color interaction within the images were of considerable concern. Primary color use, color theory, and complimentary colors, were all considered when constructing the glass structures to be photographed.

The color glass constructions or structures at first were crude and most were not very large but with more experimentation they became more complex and some were created on progressively larger scale.

 

The color saturated images are displayed face mounted with 1/4 inch acrylic and completes the cycle of their creation.