ACN Blogpost Adding Light to My Art by Barbara Matthews

I have resisted adding light to my art because it would introduce an extra complication for galleries. However, I relied on the gallery to be able to have natural light for the piece. That was frequently not the case.

In an early attempt, I utilized LED strips that required soldering together—Yikes—more complicated than I could handle and consequently not successful.

I did have success with one small piece, Hug or Kiss, using LED strips and a battery pack. The battery had a surprisingly short life, enough to last through the opening reception and a few days after, but not for the entire run.

Hug or Kiss? 12" x 12"

In the 15 years since my first attempt, the lighting offerings have advanced. I found under-the-cabinet LED lighting that has proven to be easier to incorporate as options for my art.

The strips come in 10, 12, and 16 inch lengths, have magnets to aid installation, an internal battery, usb connections to plug into an outlet, and a remote controller.

I constructed from wood a separate piece that could be placed behind the art. A slight angled cut on the top shone the light directly on the art. Adding two flat washers to the top allowed the light strip to snap securely into place. At home I turn the lights on and off in the evening. At the gallery, the lights could be plugged in with a usb cable that I will supply.

Wood base on left with flat washers

USB connection and controller

Position of lighting behind art piece

Piece before lighting

Piece lighted

With wall art there are different challenges, the lights are more integrated into the piece.

In the wall art below with a foundation of acrylic glass, the challenge was to find a way to add metal where the magnets on the lights could attach.

Two small corner brackets found at the hardware fit the bill and these could be glued using E6000 glue.

Corner metal brackets glued to the acrylic back

Light strip in place

Fiber Disguised 16"x33"x2"  before lighting

Piece lighted

I Work With Intention by Barbara James

My work is informed by the lush landscapes and historic character of my home in the Lowcountry of coastal South Carolina. When I am thinking about a new piece, I look around and see many possibilities. Before beginning, I often take photographs and may even do some additional reading or interviewing about the subject of my piece.  I then start to work letting the materials guide me in an intuitive manner. 

 This year’s Art Cloth Network juried exhibit theme,” Intersections”, inspired me of make art works informed by the Rails to Trails Conservancy, a national system of connecting trails used for biking and walking. 

The Beaufort, South Carolina section of the trail is called the Spanish Moss Trail with 10 miles of trail that have repurposed the former Magnolia Rail Train Line, rich with history and local color.  I took photos of buildings and foliage along the path, a small portion of the railroad bed that can be seen intersecting it and sections of the new paved trail.

The selection of materials proved a challenge, but that came together when I found some artifacts and dove into my stash of vintage fabrics and trims. I determined that the materials needed a historic appearance that could to achieved by wrapping fabrics and vintage handwork around rusted objects found along the trail and in the foundry where the metal was smelted to build and repair the track. The fabrics and handwork were then tea dyed. 

 I worked in small sections and hand stitched the pieces together with scatter stitches and French knots. This not only connected the pieces, but added interest and helped tell the story. I mounted the piece on white cotton and continued to stitch in an intuitive manner.

Here is a photo of the completed piece.

                                                            Rails to Trails 1

                                                            18.5"W x 14"H

Here are some detail shots.

 Click here for for a link to Barbara's website