Hot&Cold
Shadows Colored


Fabric, light
Dimensions:
30 x 120 x 30 cm
Series of 30

Simon SIEGMANN

Familiar with Siegmann‟s work as a plastic artist and theatre designer, D&A Lab has invited him to design lamps where the light source, rather than the shape of the fixture, is important.
Shadows Colored and Hot&Cold are two designs that can be seen as two propositions of space.
Light effects by nature entail a physical experience of light. The luminous effect is revealed with the person who passes through it.
The person goes through a luminous space. There is a part of mise en scène in these two propositions.
These luminous effects integrate the part of the actor, as something one can play with.
In the case of Shadows Colored, light passes through various filters of colour, casting shadows on the objects, illuminated in the three primary colours: red, green and blue. For Hot&Cold, a cold light and a hot light define two spaces that can be modulated. In moving and gesticulating, people create variations of these light effects, ultimately revealing the nature thereof.
Shadows Colored and Hot&Cold are two approaches to light and complementary lighting through the way in which these two mechanisms expose the basics of lighting: the trichromy and temperature of colour (hot/cold).
The complementary nature of these two lamps is found also in their shape: these two lamps are twins.
Two boxes in tightly drawn, black fabric. The simple technical neutrality of these black boxes is of the same
nature as the theatre projectors.
The object does not really have aesthetic value. What is put to the fore is the luminous effect: the light is the object. .

ABOUT

Born 1971 in Nice
Lives and works iN Brussels

Siegmann is a plastic artist who moved to scenography, finding affinities in the use of space, light and a more direct relation to the human body. His work draws the public in by manipulating scenography
conventions to create discrepancies often laced with a dash of humour. Taking such elements as the portal wing or the black box in general as a point of departure, he plays with these elements as with a
construction set where the limits can be remodelled.
He is interested in certain conventions, certain
architecture codes of the theatre to move, replace and forget them. He thus casts shadows of doubts about their immutable nature.
This work is not intended to create a radical opposition, but rather as a way of raising questions. The idea is that our capacity to doubt makes us better aware of what surrounds us.
While studying the plastic arts, Simon Siegmann worked extensively on the idea of the void and of the imprint. This work assumed the form of mouldings of ordinary, everyday objects, mostly kitchen utensils.
At a certain level, this relation to the void, the imprint and function continues to inhabit his work. His theatre designs are conceived as spaces outlining a void.
A void that has to be used and inhabited. The notion of
functionality is also explored by working on the boundary between the useful and the useless.
In these „mises en espace‟ (by analogy of „mise en scene‟), spectators are invited to use, handle and play with the
space and the objects offered to them. Spectators activate the work through their mere presence, and become both actors and spectators.