These hour-long concerts feature a string quartet of leading BIPOC musicians performing family-friendly music, with a Q&A to follow each concert. These fun, informal, and intimate presentations are geared toward families and those who enjoy and want to learn more about classical music in an informal setting. Join us at venues across Los Angeles County this summer!
All education and outreach programs at LACMA are underwritten by the LACMA Education Fund and are supported in part by the Judy and Bernard Briskin Family Foundation, The Rosalinde and Arthur Gilbert Foundation, the William Randolph Hearst Endowment Fund for Arts Education, Alfred E. Mann Charities, The Ralph M. Parsons Foundation, Gloria Ricci Lothrop, the Flora L. Thornton Foundation, U.S. Bank, and The Yabuki Family Foundation.
“The art world has historically overlooked the rich diversity and contributions of Latinx artists, and I wanted to address this gap by providing visibility, support, and a space where Latinx voices could be heard and celebrated.”
By Sophie Heatley | 11 Sept 2024
What inspired you to found the Latinx Art Collective, and what specific gaps in the art world were you hoping to address?
I founded the Latinx Art Collective because I became acutely aware of the significant lack of representation and recognition for Latinx artists. My own experiences, coupled with the stories from others in my community, highlighted the need for a platform that could celebrate and elevate Latinx art and culture. The art world has historically overlooked the rich diversity and contributions of Latinx artists, and I wanted to address this gap by providing visibility, support, and a space where Latinx voices could be heard and celebrated.
How has your personal identity and experiences influenced your decision to create this platform?
My personal identity as a Latina and my experiences navigating the art world have profoundly influenced my decision to create the Latinx Art Collective. Growing up, I rarely saw artists who looked like me or shared my cultural background represented in mainstream galleries or museums. This lack of representation, combined with the challenges I faced in finding a sense of belonging in the art community, motivated me to create a platform where Latinx voices are centred, celebrated, and empowered to share their stories authentically.
Tropical Garden by Victoria Stagni (oil on canvas, 2024, 76 x 100 x 4 cm)
Your online presence as “Latina in Museums” has gained significant attention. How do you leverage social media and digital platforms to further the goals of the Latinx Art Collective?
My platform serves as a bridge, connecting underrepresented artists with followers who might not encounter their work otherwise, and I use it to advocate for greater representation and inclusivity in the art world. By tapping into the power of social media, I’m able to create visibility, drive conversations, and mobilise support for the Collective’s mission on a global scale. But the goal of my personal channels is also to show a lesser seen side of museum work, where I share my own journey, including the ups and downs, failures, and challenges I’ve faced. I also showcase the achievements and opportunities to demonstrate that these experiences are possible for our community. This transparency helps build a relatable and inspiring narrative, encouraging others to pursue similar paths and showing that success in these spaces is achievable.
Pillow Talk by Javiera Estrada (archival pigment print, 2015, 68 x 68 cm)
In your opinion, what are the unique challenges and opportunities that digital spaces offer for promoting underrepresented artists?
The vast reach and accessibility of digital platforms provide a powerful opportunity to amplify voices that are often overlooked, allowing artists to connect directly with global audiences and build supportive communities. However, these spaces also come with challenges, such as navigating algorithms that may not favour diverse content and the need to stand out in an oversaturated online environment. Despite these challenges, digital platforms remain essential for breaking down barriers and creating visibility for underrepresented artists in ways that traditional spaces often cannot.
Karen Vidangos taking part in a Q&A
What are some common misconceptions about Latinx art and artists that you encounter, and how do you work to challenge these through your platform?
A common misconception about Latinx art and artists is the assumption that the work is always centred around themes of race, immigration, or cultural identity. While these are important subjects, Latinx artists, like their peers, also explore a wide range of themes, including politics, technology, time, the environment, and more.
Through my platform, I challenge these narrow perceptions by showcasing the diversity and complexity of Latinx art, highlighting how our community engages with a broad spectrum of ideas and creative expressions. By featuring artists whose work shows the entire breadth of our creativity, I aim to broaden the understanding of Latinx art and demonstrate that Latinx artists contribute to all areas of artistic discourse.
What role do you see the Latinx Art Collective playing in the broader conversation about diversity and inclusion in the art world?
The Latinx Art Collective actively challenges the underrepresentation of Latinx voices and creates a space where these artists can thrive. By amplifying the work of Latinx artists and fostering a supportive community, the Collective pushes for a more inclusive art world that recognises and values the contributions of all artists, regardless of their background. We aim to not only increase visibility for Latinx artists but also to reshape the narratives around diversity and inclusion, advocating for a more equitable and representative art landscape.
Karen Vidangos at Venice Biennale 2024: US Pavilion represented by Jeffrey Gibson: “the space in which to place me”
What are your long-term goals for the Latinx Art Collective? Are there any upcoming projects or initiatives you’re particularly excited about?
My long-term goals for the Latinx Art Collective are to continue building, improving, and expanding our platform to better support and showcase Latinx artists. I aim to collaborate with a diverse range of organisations that are doing exceptional work in promoting Latinx art and culture, creating opportunities for mutual growth and impactful projects. I’m particularly excited about upcoming initiatives that involve partnering with institutions and curators to bring more visibility to Latinx artists and their work. By working together with these wonderful organisations, we hope to create a more inclusive and dynamic art world that reflects the richness of Latinx contributions.
What do you hope the future of the art world looks like in terms of representation, and what steps do you think are crucial to getting there?
I hope the future of the art world is characterised by truly diverse representation, where artists from all backgrounds are equally visible, valued, and celebrated. This includes not only increasing the presence of underrepresented artists in galleries and museums but also ensuring that their diverse voices and perspectives are recognised as integral to the broader art discourse. Crucial steps to achieving this vision include implementing equitable practices in curatorial and hiring processes, actively supporting emerging artists from underrepresented groups, and creating platforms that amplify diverse voices.
Together by Marta Grassi (acrylic on canvas, 2024, 100 x 81 cm)
Looking back on your career and the evolution of the Latinx Art Collective, what has been the most surprising or unexpected part of your journey?
Looking back on my career and the evolution of the Latinx Art Collective, the most surprising and unexpected part of the journey has been the incredible support and recognition I’ve received. Entering and thriving in the arts, a field known for its difficulty and exclusivity, was something I never imagined would happen.
Reflecting on my parents’ sacrifices as immigrants in the 80s fills me with deep gratitude and emotion, reminding me of how far we’ve come and the gift this journey has been. The outpouring of support from people across the country and the world—those who are aspiring to be in the arts or already doing amazing things—has been overwhelmingly moving. It feels surreal and humbling to see how my little dream has resonated with so many, and I am continually awed by the community that has embraced and supported me.
How do you stay motivated and inspired in your work, especially when facing challenges related to representation and inclusion?
I stay motivated through the incredible support and love from my family, my friends who lift me up and encourage me to keep pushing forward, and my pug and little gallery girl, Marcel, who is my anchor to the real world when I’m feeling a little lost or down.
The dedication and passion of brilliant individuals—curators, writers, artists, and community members—who work tirelessly to support and uplift the Latinx community inspire me daily. Seeing the great things we can achieve when we come together fuels my commitment to doing what I do. Their belief in our collective work drives me to keep going, continuously challenging and inspiring me to make a difference.
“We’re going to make stuff out of beads that is going to take people’s breath away,” says Ralph Ziman in the trailer for “The MiG-21 Project,” a military jet that he and a transcontinental team coated nose to tail in millions upon millions of glass beads.
For the past 12 years, the Los Angeles-based artist has examined the impacts of the Cold War Era and the global arms trade through a trilogy titled Weapons of Mass Production, motivated by his upbringing in Apartheid-era South Africa. More than half a decade in the making, “The MiG-21 Project” completes the series.
The first installment, “The AK-47 Project,” reimagined the aesthetic of one of the world’s most ubiquitous wartime weapons, the Avtomat Kalashnikova 1947, by coating dozens of the guns in colorful glass beads. The second project revolved around the Casspir, a heavy-duty Mine-Resistant Ambush Protected Vehicle (MRAPV) introduced in the 1970s, which he likewise ornamented in vibrant geometric patterns.
“The idea was to take these weapons of war and to repurpose them,” Ziman says, flipping the narrative about icons of violence and transforming them instead into symbols of resilience, collaboration, and collectivity. Vehicles and firearms morph into a theater of hope and strength in the face of a terrible 20th-century legacy.
Apartheid, which in Afrikaans means “separateness,” is the name assigned by the minority white-ruled Nationalist Party of South Africa to a harsh system of racial segregation that began in 1948. The period lasted until 1991 and was closely linked within the context of international relations to the Cold War as tensions erupted between the U.S. and the former U.S.S.R. Spurred by the deterioration of the two countries’ WWII alliance and fears about the spread of Communism into the West, the war began in 1947 and also ended in 1991 when the U.S.S.R. was dissolved.
During this time, the Russians produced a fighter jet called the Mikoyan-Gurevich MiG-21. The plane is “the most-produced supersonic fighter aircraft of all time,” Ziman says. “The Russians built 12,500 MiG-21s, and they’re still in use today—just like the Casspir and just like the AK-47s. But it’s one thing to say, hey, I want to bead a MiG, and then the next thing, you’ve got a 48-foot MiG sitting in your studio.”
The MiG-21 cockpit
“The MiG-21 Project” combines photography and costume design with historical research and time-honored Indigenous craft. The project encompasses not only the jet but a series of cinematic photographs and elaborate Afrofuturist regalia inspired by military flight suits, African tribal textiles, and space travel.
Ziman’s team comprises numerous skilled artisans from Zimbabwe and Indigenous Ndebele women from South Africa’s Mpumalanga Province, who are renowned for their beadwork. For the Ndebele, beadwork is a means of expressing cultural identity and rites of passage, taking on powerful political connotations in the 20th century as it became associated with pre-colonial African traditions and identity.
Tapping into the lessons of our not-so-distant past, Ziman addresses current conflicts like war and the global arms race, modern colonialism, systemic racism, and white supremacy through the lens of Apartheid. Funds raised throughout the process, part of the mission of the Weapons of Mass Production trilogy as a whole, are being donated to the people of Ukraine in support of the country’s ongoing conflict with Russia.
You’ll be able to see the “The MiG-21 Project” later this year in Seattle, where it will be on view from June 21 to January 26, 2026, at the Museum of Flight. Explore more on Ziman’s website.
Photo by Mauricio HoyosPhoto by Mauricio Hoyos“Hero Of Cuito Cuanavale,” Inkjet on Moab Entrada paper, 43 x 56 inchesPhoto by Mauricio HoyosDetail of the MiG-21 cockpitPhoto by Mauricio Hoyos“The Raider and Her MiG-21,” Inkjet on Moab Entrada paper, 43 x 56 inchesPhoto by Mauricio Hoyos
The moment I sit down at my easel to create art is magical. Time flows into numerous strokes of color to tell a story of hope, loneliness, and my inner need to capture the divine nature of the Universe. We all have the light and dark inside us, but our will or choice to do anything in life is real. Some unknown forces or mysteries don’t guide us. We are here to do what we set out to create ourselves.
KraftGeek art easel review
If you love artistic expression as much as I do and enjoy painting outdoors or in your studio, a stable but portable easel is necessary for every artist.
The advantages:
The easel is adjustable and unfolds up to 65 inches tall. It measures 2.2″D x 3.9″W x 19.87″H and is available in 3 colors: oak, black, and walnut. I like functional things. The art easel weighs under 4 pounds and can fit in carry-on luggage. Made of lightweight aluminum alloy, it can be folded to just 20 inches. The easel is easy to set up, carry around, or store in a closet.
This plein air easel requires no assembly. Just take it out of your box, unfold it, and set it up for a painting session or a gallery presentation.
It can fit on a table. It can also be used as a floor easel because I can adjust its length between 20 and 65 inches.
https://youtu.be/nmCTHH7I3Wc
How to unfold it:
1. Unfold the front legs of the tripod 2. Unfold the back leg 3. To unlock the rod, turn it clockwise, pull & turn counterclockwise 4. To unlock the clamp extension, turn the knob counterclockwise. Turn it clockwise to fasten it.
The most important thing about art easels is their stability. This one doesn’t disappoint. The easel has locks and non-slip silicone pads on each leg to hold art up to 11 lbs.
It can also level your canvas on uneven surfaces, which is useful if you paint outdoors.
The easel can hold a variety of canvases up to 3/4 of an inch wide. It holds canvas sizes up to 10.5” in width, and 24” in height. It’s NOT suitable for small panels like 5×7″, 8×10″, or 9×12″. So you can use it for art gallery displays, outdoor painting, and studio work.
This easel has a pleasantly surprising additional feature. If you need a tripod for your phone, camera, or light, it comes with a mount to hold the phone while recording.
To activate a 2-year limited warranty, scan a code attached to the easel inside the box.
The disadvantages:
1 Some parts are made of plastic and I don’t know how long they would last. 2 It cannot hold big and heavy art but no foldable easel can.
3 It doesn’t hold small canvases horizontally like 5×7, 8×10, 9×12. 4 Also, It’s not cheap. But I’m tired of crappy stands that fall off and can’t even balance small canvases. I figured it’s more valuable to buy one solid easel instead of 2-3 cheap ones that end up in a trash bin anyway.
Enhance your creativity with this steady and functional easel sold by KraftGeek.
To Shop:
If you’re interested in purchasing this beautiful easel on Amazon & supporting my channel, please use the link https://amzn.to/4esAigS . Or buy it at their store online: https://bit.ly/4fdcRJO Use the discount Code: VERONICA to get it at a better price.
Thank you! I hope you enjoy the creative process using this easel!
As the Industrial Revolution mechanized the jobs of the joiner – building doors and windows by hand – one anonymous joiner watched the traditional skills disappear and decided to do something about it.
That joiner wrote two short illustrated booklets that explained how to build doors and windows by hand. And what was most unusual about the booklets is that they focused on the basics of construction, from layout to joinery to construction – for both doors and windows.
Plenty of books exist on building windows and doors, but most of them assume you have had a seven-year apprenticeship and don’t need to know the basic skills of the house joiner. Or the doors and windows these books describe are impossibly complex or ornamental.
“Doormaking and Window-Making” starts you off at the beginning, with simple tools and simple assemblies; then it moves you step-by-step into the more complex doors and windows.
Every step in the layout and construction process is shown with handmade line drawings and clear text. The booklets are written from a voice of authority – someone who has clearly done this for a long time.
During the last 100 years, most of these booklets disappeared. Soft-cover and stapled booklets don’t survive as well as books. And so we were thrilled when we were approached by joiner Richard Arnold in England, who presented us with a copy of each booklet to scan and reproduce for a book.
Below is the introduction that Richard Arnold wrote for us. It is a family story that comes full circle and brings these booklets with it.
The story of how this book has come to be republished is a tale that goes back more than 100 years.
At the end of World War I, one of the lucky survivors of the trenches came home to England and started a new career as a carpenter and joiner. He was my grandfather, and his name was Cecil Incles.
Sometime during his apprenticeship, he managed to purchase a tool chest – complete with tools – that had belonged to a joiner by the name of G. Shelton. To date I have not been able to find any clues as to who Mr. Shelton was, but by dating the tools in his chest, it is reasonably safe to assume he assembled them sometime around the end of the 19th century. Judging by the types of tools in his chest it is obvious that he was a joiner, and amongst other things, he would have spent a lot of his time making doors and windows.
Lying in the bottom of the chest were two well-worn little booklets on door and window-making. They date from around 1910, so I think it is safe to assume they were first purchased by Mr. Shelton. I’m sure he found them helpful, as I presume my grandfather did after him.
On completion of his apprenticeship, my grandfather moved back to his birthplace and started work for a small building firm in a nearby market town. For the next 50 years, he worked as a joiner for the same company right up to his retirement. After his death in 1976, my father decided to hang on to my grandfather’s old tool chest, along with its contents, a decision that I am forever grateful for.
Two years after my grandfather’s death, I left school at age 16 with no clear idea of what I was going to do with my life. As luck would have it, the old building firm that my grandfather had worked for was looking for an apprentice to train in its joiners’ shop. So with hardly any woodworking experience at all, I found myself working under the watchful eye of “old Arthur.” Coincidently, Arthur had been one of my grandfather’s apprentices. My father had no great interest in woodwork, so he was happy to pass the tool chest and its contents to myself to use in my new career.
It is no exaggeration to say that this tool chest, and more importantly its contents, changed my life. Most of the tools in the chest were of no use in a modern working environment, but I became fascinated as to what they had been used for and how they were used. This led to a lifelong passion for anything to do with the history of woodworking, and the tools and techniques that surround the subject.
I soon discovered the two little booklets in the bottom of the chest, and I was surprised as to how relevant the information within them was to my everyday work. In time, they became my main point of reference whenever I’m working on doors or windows.
In the age where doors and windows were made by hand, the apprentice learned the basics under the watchful eye of his master. No one expected to have to record these skills; they were merely the basics, passed down from one generation to the next. But with the onset of the machine age and mass production, a lot of these techniques were soon lost.
The anonymous author of these booklets must have had the foresight to see this coming, and we should be forever grateful to him for recording his obvious years of experience making doors and windows as a joiner.
For years, I have recommended these wonderful booklets to fellow craftsmen, but sadly I could offer them no hope of finding copies for themselves because they rarely, if ever, came onto the open market. I would like to applaud Lost Art Press for making them available once again to everyone with an interest in keeping these traditional skills alive.
Richard Arnold November 2013 Northamptonshire, England
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Can you share the journey that led you to neon art as a prominent medium in your work? What initially drew you to explore this vibrant form?
My journey into neon art stems from my long-standing fascination with the natural world, particularly the vibrant colours and movements of butterflies and birds. Over the years, I spent a significant amount of time studying these specimens at the Natural History Museum, where I had the opportunity to closely examine their morphological characteristics, colours, and flight patterns. I became especially intrigued by how the intricate colour spectrum of these species reveals aspects of light and colour that are often invisible in everyday life.
This exploration of flight led me to study the mathematical principles behind it, specifically Bernoulli’s equation of flight. This theory explains how differences in air pressure create lift, allowing birds and butterflies to fly with such grace. The relationship between movement, line, and energy became central to my abstract compositions, which sought to capture the dynamic forces at play in flight.
As I continued to explore these themes, I realised that my work was pushing me to move beyond the two-dimensional canvas. I wanted to express the interplay between light, colour, and movement in a more immersive and vibrant way, which led me to experiment with neon and LED lighting. Neon’s glowing, fluid quality perfectly complemented the dynamic motion I had been studying, allowing me to bring the energetic frequencies of flight and colour into a three-dimensional space.
Incorporating neon has allowed me to deepen my investigation of light and colour frequency, bringing to life the unseen forces I had been observing in nature. The addition of neon and LED lights felt like a natural extension of my work, enhancing the vibrancy and strength of my compositions, and allowing me to explore the relationship between light, colour, and movement in a whole new way.
Your work merges art and science. How do these disciplines influence your approach to creating neon-based art?
Art and science, for me, are two sides of the same coin, each informing and enriching the other. My work with neon is deeply rooted in this fusion, where the precision of scientific principles meets the emotional expressiveness of art. This blend became especially significant when I began studying the structure and behaviour of butterflies and birds at the Natural History Museum. What initially drew me in was their aesthetic appeal—their brilliant colours and graceful movements. However, as I dove deeper into the mechanics behind their flight, I found myself fascinated by the scientific laws that govern their movements, such as Bernoulli’s principle.
Science provides the framework for much of my creative process. The mathematical elegance of flight, the way wing structures are designed for efficiency and fluidity, or how light interacts with the surface of butterfly wings—these are elements that captivate me. Understanding the mechanics behind these phenomena gives me a new perspective on how to represent them artistically. In this way, science isn’t just an influence; it’s a tool I use to decode the world around me and transform it into visual form.
Installation from a previous exhibition with Laura Benetton
On the artistic side, my focus has always been on the sensory experience—how we perceive and feel colour and light. When I began incorporating neon and LED lights into my work, I found they could represent not just movement and energy, but also the frequency and vibration of light itself. Neon gives me the ability to play with light in a way that feels alive, allowing me to push beyond the limits of what can be achieved with paint or traditional mediums. It captures the fleeting, almost invisible qualities of nature that I’ve always been fascinated by.
In combining art and science, I approach each piece not just as a visual creation but as an exploration of natural forces. I look at how scientific concepts, like flight dynamics or the spectrum of light, can be broken down and reimagined in a way that evokes emotion and engages the viewer. Neon is particularly well-suited for this because it allows me to transform complex, intangible ideas—like the unseen forces behind flight or the subtle shifts in colour frequency—into something physical and immersive. This synergy between art and science not only broadens the scope of my work but also deepens my understanding of the world and how we interact with it.
Neon art often conveys energy and intensity. How do you harness these qualities to express your artistic vision?
In my work, neon light serves as more than just an aesthetic choice—it acts as a powerful tool for creating a direct, sensory connection with the viewer. The vibrant energy of neon invites the audience to engage not just visually, but physically, allowing the light to envelop them in a way that creates an immersive experience. This interaction mirrors the scientific practice of taxidermy, where species are carefully classified, labelled, and presented for observation. Just as scientists use lighting and positioning to emphasise the unique characteristics of a specimen, I use neon to spotlight and intensify the essence of my compositions.
The neon light in my work acts like a spotlight, not only reinforcing the defining features of the painting but also elevating its beauty in a way that might otherwise remain subtle or unseen. The glow of neon transforms the artwork, giving it a dynamic presence that shifts with the viewer’s perspective, drawing attention to details and inviting deeper contemplation. It’s a way of magnifying the elements that are central to my vision—colour, light, and movement—while also paying homage to the idea of scientific classification by giving the artwork a sense of importance and discovery.
Neophema by Laura Benetton (acrylic and spray paint on canvas, 2020, 120 x 90 cm)
Your practice spans various mediums, including painting, sculpture, and bio-art. How does working with neon differ from or complement your other artistic endeavours?
Working with neon brings a unique set of challenges and considerations compared to my other mediums like painting, sculpture, and bio-art. Neon requires a high level of logistical planning and precision, as each piece needs to be meticulously mapped out before the installation process even begins. Unlike painting, which allows for a more organic, free-flowing expression, working with neon involves practical, hands-on problem-solving. I have to think ahead about the technical aspects of wiring, electrical connections, and the overall mechanical setup. This includes tasks like cutting wires, testing connections, and troubleshooting the neon itself—skills that require electrical knowledge and attention to detail.
In contrast, painting feels more immediate and intuitive. I can fully immerse myself in the act of creation, working directly with the canvas and acrylic medium without the same logistical demands. The flow is more spontaneous, and it allows me to express myself freely, responding in real-time to colour, form, and emotion.
Bio-art, particularly working with living organisms like bacteria and bioluminescence, introduces yet another layer of complexity. In these projects, the challenge is not just technical but also biological. It requires me to create the right conditions for life to grow, where every second and every millilitre of material can impact the outcome. The process is delicate and feels more human in a way—tied to the notion of nurturing life and working with natural systems. It’s a practice that brings a sense of fragility and unpredictability, where I must adapt constantly to the changing conditions in the lab.
Atthis by Laura Benetton (neon installation, acrylic painting on canvas, 2021, 110 x 110 x 8 cm)
In a sense, each medium presents its own unique challenges and learning curves. Neon combines practicality and artistic expression in a different way than painting, while bio-art introduces the concept of working with living systems and survival. What unites them all is the level of focus and dedication required, whether it’s planning neon installations, painting in the studio, or working in the lab. Each medium offers me the chance to explore new dimensions of creativity, all while pushing me to think critically and technically about my approach.
Could you walk us through the process of creating an installation? What are some of the technical challenges you face?
Creating an installation, particularly one involving neon, is a multi-layered process that requires both creative vision and technical precision. It begins with a clear conceptual idea, but from there, it quickly moves into detailed planning. Neon is a medium that demands a high level of logistical foresight. Every aspect of the installation must be carefully mapped out before any physical work begins, as the electrical components, placement, and structure of the neon elements need to align perfectly with the overall design.
Once I have a solid plan, the technical phase begins. This involves working closely with the neon tubing, which has to be bent into precise shapes. Then comes the electrical work—cutting and connecting wires, testing circuits, and making sure the entire system is functional. This stage requires an understanding of how neon gas and electrical currents interact to create the glowing light, as well as troubleshooting any potential mechanical issues that arise, such as faulty connections or uneven illumination. One of the main challenges I face here is ensuring that the practical aspects of the installation, like power supply and safety, don’t interfere with the aesthetic vision. The wiring needs to be hidden or integrated seamlessly into the artwork, so it doesn’t distract from the visual impact.
At the same time, the neon needs to work harmoniously with other elements in the piece, such as painting or sculpture. This means balancing the intensity of the light with the colours and textures in the rest of the work. I also test how the neon interacts with the surrounding space—whether it casts shadows, creates reflections, or changes in appearance based on the viewer’s angle.
In comparison, painting allows me to express myself more fluidly, while working with neon installations is a more methodical, problem-solving process. Every technical decision can impact the final outcome, from the precision of the wiring to the quality of the neon light. This technical aspect presents constant challenges, but it’s also what makes the medium so rewarding. The neon not only illuminates the space but enhances the work, transforming the viewer’s experience through light, colour, and energy.
How do you balance the aesthetics of neon art with its underlying scientific or conceptual themes?
Balancing the aesthetics of neon art with its scientific or conceptual themes involves a nuanced approach that integrates both visual appeal and deeper meaning. My work with neon art is deeply informed by the scientific principles of light and colour, specifically how different wavelengths correspond to different colours and the phenomena of bioluminescence. My artistic exploration begins with the concept of light as a physical phenomenon. Each colour of neon light corresponds to a specific wavelength of light, which is a fundamental principle in physics. This concept provides a scientific foundation for my work. For example, blue light has a shorter wavelength than red light, and this variation in wavelength affects how colours are perceived and experienced. In each piece, I choose specific neon colours based on their wavelengths to align with the underlying theme or message of the artwork. For instance, if a piece explores themes of energy or transformation, I might select colours with varying wavelengths to symbolise different stages or types of energy.
Testing LED brightening in the dark
This colour choice is not arbitrary; it is carefully considered to enhance the conceptual depth of the piece. The aesthetic impact of neon art is heightened by the interplay of colours and light. By selecting colours that not only create a visually striking effect but also resonate with their scientific properties, I aim to create a visual experience that is both beautiful and intellectually stimulating. For example, using neon colours that stimulate the excitation of particles in bioluminescence can evoke a sense of organic glow and transformation, reflecting natural processes. The process of bioluminescence, where organisms produce light through chemical reactions, serves as a powerful analogy for my work. Just as bioluminescence involves the synthesis of molecules to produce light, my neon artworks involve the manipulation of light wavelengths to create visual experiences that are both scientific and artistic. The glowing effect of neon lights parallels the mesmerising quality of bioluminescent organisms, drawing a connection between natural phenomena and artificial light. By weaving together the scientific aspects of light with artistic expression, I aim to create neon artworks that not only captivate the eye but also provoke thought about the nature of light and its role in our perception of the world. The interplay between colour, light, and concept transforms each piece into a multidimensional exploration of both science and art.
Can you tell us a bit more about your collaborative project “La – La Studio” bringing together yourself and English musician Callum Wright?
La – La Studio is a collaborative collective that I founded with English musician Callum Wright, who is known for his work under the alias D/R/U/G/S. Our partnership explored the intersection of art, science, and sound in new and exciting ways. In the project, “WFP Dance ” I created a dynamic visual installation that showcased the intricate patterns of cancerous cells, marked by green fluorescent protein. These visuals were intended to be both striking and intellectually engaging. Callum contributed by crafting bespoke soundtracks that harmonised with the visual components. Together, we aimed to create an immersive experience that transcended traditional artistic boundaries. The combination of his musical landscapes with my visual work was designed to provide a multi-sensory journey that connected viewers with both aesthetic and scientific elements. “WFP Dance”was showcased at Sonar 2024, where it challenged conventional perceptions of art and technology, inviting participants to explore and engage with the microscopic world in a profound and innovative way.
Many of your installations incorporate light in dynamic ways. How do you see light as a tool for communication in your work?
Light is a central element in my installations, and I view it as a powerful tool for communication in several ways. Light helps in shaping narratives and guiding the viewer’s experience. Through dynamic lighting, I can highlight specific aspects of an installation, draw attention to particular details, or create visual pathways that lead viewers through the piece. This storytelling aspect of light allows for a more immersive and engaging experience. In some of my works, light interacts with the audience. For instance, some installations respond to movement or touch, creating a dialogue between the viewer and the artwork. In essence, light is not just a visual element in my installations; it is a communicative force that shapes experiences, conveys emotions, and deepens the conceptual impact of the work. Through its dynamic and multifaceted nature, light becomes an integral part of how I express ideas and connect with viewers.
Laura Benetton’s studio
In your opinion, what is the role of neon art in contemporary society? How does it resonate with today’s cultural or technological landscape?
Neon art fascinates me because it bridges the gap between art and technology. The way neon lights work—through advanced technological processes—mirrors our ongoing fascination with tech and its integration into creative expression. It allows me to explore how art can incorporate and reflect technological progress, creating a dialogue between the two realms. Visually, neon art is incredibly striking. It’s bold colours and glowing forms have a way of cutting through the noise of our visually saturated world. In an era where we are constantly bombarded with stimuli, neon’s ability to stand out and make a powerful statement is both captivating and relevant. Culturally, neon art often delves into themes like identity, consumerism, and urban life. It offers a lens through which to critique and reflect on contemporary issues, making it not just an aesthetic choice but a medium for cultural commentary. Moreover, in a time when interactive and immersive experiences are highly valued, neon art’s ability to transform spaces and engage audiences on a sensory level aligns perfectly with this trend. It’s not just about creating something visually stunning; it’s about crafting experiences that resonate on a deeper level. Finally, there’s a certain nostalgia associated with neon. It harks back to mid-20th-century aesthetics but is reimagined through a contemporary lens. This revival of retro appeal, combined with modern artistic techniques, creates a unique connection between past and present, making neon art both timeless and current. I feel that neon art is more than just light and colour. It’s a dynamic reflection of our era—an intersection of art, technology, and culture that continues to evolve and captivate.
Are there any new directions or mediums you’re excited to explore that might further integrate neon with other forms of art and science?
I’m excited to delve deeper into the realm of programming and coding as a means to create sensory-based light and touch experiences. My vision involves developing interactive installations where audiences can immerse themselves in expansive spaces and engage with light in real time. This approach allows for a dynamic interaction, making the art more accessible and engaging on multiple sensory levels.
Additionally, I would be really excited about continuing my collaborations with scientists, particularly in the fields of microbiology and microscopy. I find the concept of bio-light—a sustainable alternative to artificial light—extremely compelling. My ongoing journey to create a bio-light lamp, designed to replace traditional neon light tubes in my artwork, has been a challenging yet incredibly rewarding project. Over the course of two years, during my Master’s I’ve been exploring the potential of using marine bacteria as living light sources, which not only bridges art and science but also aligns with contemporary concerns about sustainability and environmental impact.
This project has pushed me to think beyond the conventional boundaries of art, inviting a dialogue between the living and the inanimate, and offering a glimpse into a future where art and nature coexist in harmony. Exploring these new directions allows me to redefine the possibilities of light as a medium, transforming it from a static element into a living, breathing part of the artwork. I’m eager to see how these experiments can further evolve and inspire new forms of artistic expression
During Benetton’s artist in residency at Laszlo x Artiq Gallery
How do you envision the future of neon art, both in your own work and in the broader art world?
As we move into an era where technology is increasingly intertwined with our daily lives, I envision a future for neon art that embraces low-consumption lighting technologies like LED, while also pushing the boundaries of what light can represent in art. In the broader art world, I anticipate a shift towards integrating more sustainable and energy-efficient forms of lighting, driven by both environmental concerns and technological advancements.
In my own work, I am deeply interested in exploring light not just as a tool, but as a natural power source. I am particularly intrigued by the anthropological and biological dimensions of light, and how these can be harnessed to create art that is both innovative and environmentally conscious. I imagine a world where light-based art, lamps, and tools are illuminated by living organisms—such as bioluminescent bacteria or algae—highlighting the synergy between art, nature, and science. This approach not only challenges the traditional uses of neon but also reimagines the role of light in art as something that is alive and evolving.
Given that our planet’s resources are finite, I believe it is crucial to explore more sustainable directions in art. This could mean developing new technologies that mimic natural light sources, or even creating artworks that are powered by renewable energy. By experimenting with bio-light and other sustainable materials, I hope to contribute to a future where art doesn’t just reflect the world around us, but also participates in a dialogue about our planet’s ecological future.
I see the future of neon art as an exciting convergence of tradition and innovation—a space where the glowing allure of neon can coexist with new, eco-friendly technologies, challenging artists to rethink the way we use and perceive light in art.
A selection of paintings, drawings, and ceramic sculpture from artist Shuto Okayasu’s first solo exhibition. Born in Japan and currently based in New York, Okayasu’s work reflects a mix of eastern and western sensibilities and multicultural interests. Recording both mundane and transcendent aspects of urban living, Okayasu references a variety of sources including film, hip-hop culture, Nihonga (traditional Japanese painting), woodblock prints, manga, anime, and abstract expressionism. The title, “Okku/Beyond the Light”, is inspired by a line from poet Tanikawa Shuntaro, another important influence who similarly explored the cosmic in everyday life.
“Okku” is a Buddhist term that represents a length of time too long to measure or comprehend. Today the word conveys a sense of reluctance toward doing something because it feels tedious or bothersome. The merger of tedium and sublime eternity offers a nice summation of Okayasu’s recent works. “Okku/Beyond the Light” is currently on display at Plato gallery in New York until May 11, 2025.
Barley, our temporary shop dog (he and his person are visiting this week).
Chris and I will be eagerly awaiting your woodworking questions this Saturday (April 19) from about 9 a.m.-5 p.m.
On Saturday morning, an “Open Wire” post will go live. If you have a question, all you have to do is type it into the comments and we’ll – eventually – answer (we fit in weekend computer time around bench time).
Readers with relevant info are also welcome to chime in. For example – we sometimes get asked things like, “Where near Flagstaff can I buy purpleheart?” We have no idea – so if you do, please do let the poor misguided* soul who wants to use purpleheart know where they can get it.
Get those questions ready. (And check out the “Open Wire” category in the meantime – there are lots of good questions and answers there already!)
The remaining Open Wire dates for 2025 are: April 19 June 14 August 9 October 25 December 13
– Fitz
*In all fairness, purpleheart is an excellent choice for a deck and will quickly turn gray/brown, thereby making it tolerable.
As you hungrily scour what’s on offer, a growing calendar of events can easily tip into overwhelm. So, we’ve gathered a selection of hidden gems for you to uncover within and beyond the London Frieze festivities this year.
By Sophie Heatley | 20 Sept 2024
Once again, galleries, collectors, artists, art connoisseurs and their dogs are all deep in preparation for the hotly anticipated Frieze fair to recommence. Five days of ooh, aah, and ogling at the crème de la crème of London’s art scene, this year promising a yet more artist-led programme in support of new voices and the fair’s commitment to building global connections across its ever-expanding network. Keep reading to build your art agenda.
Untitled 24 (Collage, Oil on Belgian Linen, 2024, 160 x120 cm). Enquire for details.
Nelson Makamo: IN CONVERSATION
Curated and produced by Rise Art’s CEO, Scott Philips, and previous Head of Curation, Phin Jennings, “Nelson Makamo: In Conversation” is a solo exhibition that invites audiences to explore the powerful, diverse responses evoked by Makamo’s work. Through themes ranging from the Black experience to the joy and innocence of childhood, his paintings and drawings stir something deeply personal and universally resonant. Each piece speaks for itself, drawing viewers into an intimate and unspoken dialogue with the artist—one that, Jennings believes, is both spontaneous and impossible to resist.
8th October – 12th October 2024, 67 Great Titchfield Street, London, W1W 7PT
The latest show by Antonio Tarsis, a Brazilian immigrant artist based in London, reflects both the modest and profound in his work. The old English expression, typically signifying an exaggerated reaction to minor issues, takes on new meaning as Tarsis reclaims it to address deeper, turbulent histories of socio-historical, racial, and xenophobic violence. His work, created from humble materials and tools, critiques the hegemonic dynamics of colonialism and industrial labour—juxtaposing the violent processes of empire with the meticulous care of manual craftsmanship. We’re looking forward to seeing how Tarsis offers a poetic denunciation of exploitation and survival in the face of adversity.
20th September – 19th October 2024, Carlos∕Ishikawa Gallery, Unit 4, 88 Mile End Road, London E1 4UN
Lygia Clark, Diálogo de Óculos (Glasses Dialogue), 1966, Photo: Eduardo Clark. Courtesy Associação Cultural O Mundo de Lygia Clark
“The I and the You” marks the first major UK public gallery exhibition of the influential Brazilian artist Lygia Clark (1920–1988). Focusing on her artistic evolution from the mid-1950s to the early 1970s—a time of significant political and artistic upheaval in Brazil—the exhibition explores Clark’s central role in the Neo-concrete movement. Alongside her contemporaries, she sought to break free from the constraints of geometric abstraction, emphasising experimentation, expression, and audience participation. Featuring paintings, works on paper, her iconic ‘Bichos,’ and participatory pieces, the exhibition highlights Clark’s journey toward blurring the boundaries between art and viewer, exploring art’s philosophical and therapeutic potential.
Excitingly, the show is presented in dialogue with “Sonia Boyce: An Awkward Relation” (Galleries 8 & 9): inspired by Clark’s participatory and experiential practice, which Boyce encountered in the 1990s, this exhibition showcases pivotal and rarely seen works exploring themes of interaction, participation, and improvisation. Featuring Boyce’s explorations of hair as a cultural signifier and her multimedia installation We move in her way (2017), the exhibition delves into the complex relationship between artists, artworks, and audiences, inviting visitors to engage with the art in unscripted, tactile ways. By pairing works from both Boyce and Clark, An Awkward Relation examines their shared interests, while acknowledging the distinct socio-political and artistic contexts that shape their practices.
2nd October – 12th January 2025, Whitechapel Gallery, 77-82 Whitechapel High St, London, E1 7QX
Veiled/Unveiled byMarcia Harvey Isaksson (photo-triptych on aluminium, 2021, each 50 × 70 cm). Photographer Ylva Sundgren
Mimosa House presents “transfeminisms: Care and Kinship”, the fourth chapter of a major touring exhibition addressing the urgent issues faced by women, queer, and trans people globally. Featuring works by Sonia Boyce, Marcia Harvey Isaksson, Lubaina Himid, Gulnur Mukazhanova, SaVĀge K’lub, and Buhlebezwe Siwani, this chapter celebrates community, collective ritual, and ancestral connections.
Exploring resilience, spirituality, and healing through diverse media—including weaving, film, sound, and collective making—”Care and Kinship” highlights strategies of resistance and solidarity. “transfeminisms” traces feminist art’s legacy while embracing inclusive, decolonial, and transcultural perspectives, proposing a transformative vision for a more equitable future.
12th September – 26th October 2024, Mimosa House, 47 Theobalds Rd, London, WC1X 8SP
Not really a hidden gem but a gem that you absolutely want to get your hands on. Sadly, if you didn’t hear about this first, you probably don’t have a ticket. Tickets to Yayoi Kusama’s fourteenth solo exhibition with the gallery sold out almost instantly. Any cancelled spots are placed on resale though, so you may still be in with a chance! Offering a rare opportunity to experience a new Infinity Mirror Room, the exhibition introduces works from the artist’s latest series of paintings and sculptures featuring her iconic visual language installed across Gallery I and Victoria Miro’s waterside garden.
25th September – 2nd November 2024, Victoria Miro London, 16 Wharf Road, London N1 7RW
