{"id":92935,"date":"2025-02-17T04:50:44","date_gmt":"2025-02-17T04:50:44","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/watery-landscapes-set-the-stage-for-lachlan-turczans-ephemeral-light-installations-colossal\/"},"modified":"2025-02-17T04:50:44","modified_gmt":"2025-02-17T04:50:44","slug":"watery-landscapes-set-the-stage-for-lachlan-turczans-ephemeral-light-installations-colossal","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=92935","title":{"rendered":"Watery Landscapes Set the Stage for Lachlan Turczan’s Ephemeral Light Installations \u2014 Colossal"},"content":{"rendered":"


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In the dreamy installations of Lachlan Turczan<\/a>, natural and perceptual phenomena combine in otherworldly installations merging technology with aquatic landscapes. Water is central to the Los Angeles-based artist\u2019s work and helps shape an ongoing series of immersive projects incorporating light and sonic phenomena.<\/p>\n

Turczan is influenced by the Light and Space movement, which originated in Southern California in the 1960s and is characterized by the work of John McLaughlin, Robert Irwin, James Turrell, Lita Albuquerque, and more. The movement focused on perception, employing materials like glass, neon, resin, acrylic, and fluorescent lights to emphasize light, volume, and scale. <\/p>\n

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\u201cConstellation Grid\u201d (2024), water, light, and fog. A swamp in Upstate New York<\/figcaption><\/figure>\n

Many Light and Space artists created installations and immersive spaces conditioned by naturally occurring elements like Turrell\u2019s ever-changing glimpse of the sky through a ceiling aperture for \u201cSpace that Sees<\/a>.\u201d Not only does the view change as clouds roll by or the weather shifts, but the light continuously transforms the entire room.<\/p>\n

\u201cWhile my work shares this lineage,\u201d Turczan tells Colossal, \u201cit diverges in several key ways: rather than exploring the \u2018nature of experience,\u2019 I create experiences of nature that challenge our understanding of light, water, and space.\u201d He describes his approach as \u201ccomplicating\u201d these elements, emphasizing the ever-changing fluidity of the environment.<\/p>\n

In Turczan\u2019s ongoing Veil <\/em>series, light installations unfold organically in locations ranging from Death Valley\u2019s Badwater Basin to a flooded park near the Rhine River. Lasers and beams of light are projected and submerged, capturing the movement of wind, mist, and the water\u2019s surface.<\/p>\n

Additional pieces also merge light and water, like \u201cAldwa Alsael,\u201d which translates to \u201cliquid light,\u201d and was commissioned for the 2024 Noor Riyadh Light Art Festival.<\/p>\n

\"a
\u201cVeil I\u201d (2024), light, water, and salt. Death Valley, California<\/figcaption><\/figure>\n

\u201cFor the most part, these installations unfold organically,\u201d Turczan says. \u201cI may discover a location in nature that seems perfect for a new Veil <\/em>sculpture, but when I return, the conditions have inevitably changed.\u201d Evolving circumstances require the artist to proceed with an openness to chance encounters that strike a balance between preparation and intuition.<\/p>\n

Find more on Turczan\u2019s website<\/a>, and follow updates on Instagram<\/a>. (via This Isn\u2019t Happiness<\/a>)<\/p>\n

\"a
\u201cDeath Valley Veil\u201d (2024), water, light, and haze. Lake Manly, a temporary lake that formed in Death Valley\u2019s Badwater Basin after Hurricane Hillary<\/figcaption><\/figure>\n
\"a
\u201cVeil II\u201d (2024), light, water, and steam. Mojave Desert, California<\/figcaption><\/figure>\n
\"a
\u201cAldwa Alsael\u201d (2024), water, light, and steel tower, 25 x 25 x 50 feet<\/figcaption><\/figure>\n
\"a
\u201cVeil V\u201d (2024), water and light, 15 x 15 x 3 feet<\/figcaption><\/figure>\n
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\u201cAldwa Alsael\u201d<\/figcaption><\/figure>\n