PRACTICING ART AND SCIENCE

LIGHT AND THE AFTER IMAGE

FINE ART: CRITICAL PRACTICE J.LYONS2@BRIGHTON.UNI.AC.UK UNIVERSITY OF BRIGHTON

INTRODUCTION The motive for a placement within Ophthalmology, a fourth-year student rotation at the Sussex Eye
Hospital, begins with my recent and profound curiosity of the eye and its workings. My current project is
exploring: Light and the After Image, the impression of light that was there, imprinted and left behind the
eyelid. This brief document outlines how my personal interaction and experiences within the subject will
generate ideas that I can later create artwork from, shows the importance of building relationships and
frames my initial objectives as well as describing the current need for artists to step into a wider context.

CONTEXT I propose to join the growing number of artists, musicians, writers and photographers taking up post of
artists in residence (Steveni 1983), which once started off as a radical social experiment by The Artist
Placement Group in the 1960s, they questioned the role of the artist and repositioned them into a wider
context to add creative perspective to disciplines far from their own practice. By immersing myself within
this new context, I propose to explore the links between Science and Art in a hope to blur the boundaries
between them, network and create academic partnerships and develop a practice that can communicate
my inspired ideas. This residency is a creative process and will be dependent entirely on [my participation,
observation and] the energies and motivation of [other] people involved' (Steveni 1983). The Artist
Placement Group discusses how the development of relationships between exceptional people and
organisations (Steveni 1983) is a leading characteristic of an artist residency which suggests that
residencies are a hive of reciprocal offering. In an initial meeting with a consultant/professor/
lecturer/individual working within the subject, whoever my host and first contact shall be, we can discuss
what I can offer as an exchange and how both parties can benefit from this placement, but primarily I will
bring an original outlook on the subject which may differ entirely from a scientific and academic
perspective.

OBJECTIVES Through engaging as an independent observer/participant (Steveni 1983) within the discipline of the subject,
I aim to gather primary research to inform my ongoing art practice. I wish to build relationships between
host personnel (staff/ students etc.) and myself that lays foundations for a circumstance that best
facilitates discovery the transfer of skills and the necessary conditions [for] an optimum form of creative
liaison (Steveni 1983) to take place. By working next to expert individuals on this placement, I will have
access to vital and scientific information around this phenomenon, which will create strong foundations
of which I can base my project. During the later weeks of the placement I wish to create work to visually
represent my process and communicate what I have found stimulating. Whatever form it takes, I am open
to the journey of discovery. My current work is centrally revolved around the use of light, and from this
has spurred my interest on how the medium affects the eye and what exactly goes on behind the eyelid.
My work has also taken many other forms, whether it be 3-Dimensional collage or craft work with wood,
plastic, metal and ceramic, performance and written work or traditional painting methods. I look forward
to seeing how my ideas will manifest and how I can incorporate my creative skills into my placement when
creating artwork.

Steveni, Barbara. (1983) ARTIST PLACEMENT APG 1966-1983, Aspects Journal.

A page, taken from Johnathan Crarys Techniques of the Observer where he documents and conveys
personal after images of his, after being around strong light sources.
My initial starting point.

Steveni, Barbara. (1983) ARTIST PLACEMENT APG 1966-1983, Aspects Journal.