In the past fibre optics were predominately manufactured for the communications industry but now have many different applications. These include display lighting in museums and the retail sector, medical applications and information systems. Increasingly, designers are realising the potential of fibre optics, the diversity and decorative qualities they have, and so are being incorporated more and more into both the design and art sectors. Sharon Marston is perhaps the greatest proponent of this art. mondo*arc talked to her about her use of fibre optics...
How did you become involved with Brilliant?
I designed the Autumn light, which is a variation of the April light which was first exhibited at 100% Design last September, and is currently on show at Harvey Nichols as part of the fringe event to Brilliant.
The installation is a cascading mass of colour and light, and is woven with PVC and mono-filament to create a spiralling light based on a seasonal palette of fiery autumnal shades.
Why is your work dominated by fibre optics and what are its advantages?
Is there a particular fibre optic you use?
information: www.sharonmarston.com
Last April I was interviewed by Jane Pavitt, curator, design writer, and currently the University of Brighton Research Fellow at the V&A, for her new book she was putting together 'Brilliant: Lights and Lighting'. The book was to be more of a handbook on lighting, exploring the various aspects of contemporary lighting such as materials, shapes and structures, technology and humour.
Jane wanted to include my work in the material exploration of lighting design, my use of polycarbonates, PVCs, woven nylons etc and how I integrate fibre optics into the forms I create.
Jane talked about the idea of putting together a lighting exhibition, which would include some of the designers featured and for the book launch to coincide with the opening of the exhibition.
Later on that year the planning of the exhibition 'Brilliant' began, and there was to be a series of installations in the first gallery and more product based lighting in the second. Design team KRD, Shona Kitchen, Ab Rodgers and Asuka Kawabata, designed a series of different shaped and sized rooms, which would house each installation. My space was a tall chimney like room measuring 2x2m diameter by 5.5m tall, and I was specially commissioned by the V & A to create an installation to fit/enhance the space.
My fascination for fibre optics started four years ago, I love the sharp clean light they give and the fact the light is dispersed through hundreds of tendrils, which I can weave, knot, thread and stitch into fabrics such as polycarbonate, woven nylon, PVC so they become an integrated part of the structure. I found an interesting aspect to the work I am creating, the idea of the light forming an important part of the construction as opposed to creating a shape and putting a light into it after.
The two fibre optics I use in my work at the moment are the bare thread polymer and glass side emitting, both quite different to work with and each giving a different effect. The options of adding a single colour, or a series of colours creating animation, which can then be programmed to different speeds, adds to the diversity of the medium.