I couldn't wait to get to my computer this morning to read about and look at the works of this artist. He is expressing concepts that I am very interested in. How could I not know? And he seems to bring his whole self to this light crater project. I love the feel of him piloting his small plane through the dessert light looking for what "he would know it when he saw it" ... hoping to see it.
I love the idea of just landing your plane as you see fit, and I wonder
how the freedom to do so feels ... and then what? Somewhere in the reading available on this topic, it says he got a room at Holiday Inn every third night during this phase of the quest celestial imaging. Did he just taxi up? And later, once the crater was in his hands ... how did he feel? Was the task at hand daunting? He looks the kind of guy who would be pretty chilled out about the process. It is so beautiful. Is it open for public viewing yet? Best guess says 2011. Time there ... would have to be one of the best days surely ... to see the culmination of this work and to walk in that light ... wowfull.
"Color is this response to what we are perceiving. So there isn't something out there that we perceive, we are actually creating this vision, and that we are responsible for it is something we're rather unaware of." ~JT
"In thinking of light, if we can think about what it can do, and what it is, by thinking about itself, not about what we wanted it to do for other things, because again we've used light as people might be used, in the sense that we use it to light paintings. We use it to light so that we can read. We don't really pay much attention to the light itself. And so turning that and letting light and sound speak for itself is that you figure out these different relationships and rules."
- James Turrell
http://http//www.pbs.org/art21/artists/turrell/index.html?gclid=CJX2uorG6aYCFYGW7Qod11VkWw#
"Well, my interest is working with light and space. And you got light and you got space, there's no doubt of that. And it's always something to work with light in the outdoors. That's something that I wanted to do, wanted to shape space, to use the light that was here naturally. Also, I wanted to use the very fine qualities of light. First of all, moonlight. Also, there's a space where you can see your shadow from the light of Venus alone - things like this. And also wanted to gather starlight that was from outside, light that's not only from outside the planetary system which would be from the sun or reflected off of the moon or a planet, but also to emanate light from the galactic planes where you've got this older light that's away from the light even of our galaxy. So that is light that would be at least three and a half billion years old. So you're gathering light that's older than our solar system. And it's possible to gather that light, it takes a good bit of stars to do that, and a good look into older skies, away from the Milky Way. You can gather that light and physically have that in place so that it's physically present to feel this old light. Now that's a blended light, of course, but it's also red-shifted, so it's a different tone of light than we're normally used to. But that's something that you can do here in a place like this, where you have good, dark skies. So to have this sort of old blended light and to have this sort of new, eight and a half minute old light from the sun - it's like having the Beaujolais and then having a finer, older mature blend [of wine] as well. And I wanted to look at light that way, because to feel it physically, almost as we taste things, was a quality I wanted. And this is where you can work with light like that." ~JT
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