Standing proud and calm in the neglected space beside the stairs of the theatre foyer, many patrons would think that these structures are merely tree trunks, but once the Trunk Lights are switched on, they totally transform themselves and the space. This light vessel is not only captivating to look at, but the light patterns that the structure throws are especially important. Light bursts from the cracks, shards of light reaching out in all directions, creating a relaxing and magical space to move through and be in.
These lights were initially created as a site-specific response for the Hobart College’s theatre re-development and had to speak to the theatre’s connection with storytelling, but also the surrounding nature of the Mt Nelson (Tasmania, Australia) environment. At night, this dramatic light source evokes a sense of mysticism and storytelling often found in the creative narrative of performing arts.
This design was developed as a response to the Hobart College re-development public art brief and the installation was developed in mind of the space, the height of each piece mirroring the cascading steps between the levels of the theatre foyer. The Trunk lights can be customised for different heights with its unique stacking system, creating a light system suitable to transform any space.
The Cracked Log concept and now its latest iteration, the Trunk Light, is an original and timeless design that creates a light vessel that is both captivating and whimsical. I like to design work which stands the test of time, both metaphorically and physically.
This design has taken a fatal design flaw, the cracks in a log, and made them a feature. Locally sourced and salvaged trunks are saved from the furnace and evolved into an art piece that will last at least as long as it took for the tree to grow.
Trunk Light is an original design which utilises traditional making with newer technologies and techniques. The light bursting from the inside represents a unique aesthetic, inspired by my alternative sensory world in which I design, with less than 5% vision concentrated around the peripheral fields.
I have quite a hands-on approach to designing, and I am continually developing new tools and techniques to communicate designs, pushing my practise forwards on the cusp of experimentation in design, design execution and thinking.
This often results in the materials being able to speak for themselves, as there is quite a lot of experimentation with the actual materials and light sources before final execution is embarked upon.
These human sized sculptural lights burst forth with shards of light. The strong form and unexpected warmth of the cracks bounce light around the room like nature’s disco ball, evoking memories of walking through the dappled light of a forest, reminding us of our intrinsic connection with the natural environment. These large light installations elevate any space to a mystical and wonderful level, speaking to the sense of wonder and possibility of creative endeavour when our minds are free to imagine.
