A Necessary Darkness

A Necessary Darkness
A Necessary Darkness
A Necessary Darkness


A Necessary Darkness 2017 - (commissioned by the Amsterdam Light Festival* in partnership with NEMO - the Dutch Museum of Science). a large scale projection on to the Renzo Piano designed ‘NEMO’ building (Oosterdok 2 Amsterdam)  dusk - 11pm daily 30 November 2017 until 21 January 2018

Contemporary satellite imagery of the world at night reveals a spreading blaze of illumination - the by-product of a 24-hour economy centred on production and consumption - which threatens to banish darkness altogether. What will it mean for future generations to grow up under skies where the stars are continuously obliterated by an orange glow and what of the effects on the body of continuous night time work? Traditionally beacons of safety and civilization - rather than a beam of welcoming light - this ‘house of light made dark’ generates a sweep of uncanny blackness.

Informed by ideas of the Anthropocene, a term used by scientists to refer to the increasing impact of human existence upon the planet’s eco systems, A Necessary Darkness suggests the need in an age of illumination for wonder, uncertainty and otherness.

see also https://vimeo.com/249526954 and https://vimeo.com/247013048

*The Amsterdam Light Festival is an annual international event which draws audiences of 850,000. In 2017-18 the theme of festival was Existentialism. A call for ideas drew 900 submissions from designers, architects and artists in 45 different countries, from which 35 artworks were selected. 

Content creation Sam Wilkins

Documentation Marcus Koppen


Modern Nature

  • Modern Nature - works in progress
Modern Nature
Modern Nature 1a - Hull-Rust-Mahoning Mine, Hibbing, Minnesota, A3 Drawing on Carbon Paper 2016
Modern Nature
Modern Nature 2 - Composite Geology. Drawing A4 x 2 2015
Modern Nature

Over the last two years I have evolved a new set of interests in ideas of the Anthropocene, or proposition that that the impact of humanity upon the Earth’s ecosystems has triggered a new terrestrial epoch; a concept which in turn challenges our understanding of human / non-human, nature / culture relations.

I am interested in exploring new understandings of global warming, financial crises, geopolitical instabilities and ‘natural disasters' within a context of changing environmental relations, engaging “the vitality, willfulness and recalcitrance possessed by nonhuman entities and forces” Jane Bennett, "The Force of Things: Steps Toward an Ecology of Matter" in: Political Theory (2004)


That Oceanic Feeling

  • Exhibition documentation
  • Publication
  • R.V.Callista Trip
  • Sound
  • Symposium - November 13th 2012
That Oceanic Feeling

That Oceanic Feeling  John Hansard Gallery - Southampton - 28th Aug - 13th October 2012

The exhibition investigated our relationship to the deep sea - the most remote and inaccessible environment on the planet, combining new and recent works made whilst working alongside geoscientists at the National Oceanography Centre, Southampton, asking what it might mean to look into this otherwise dark space.

Commissioned by the John Hansard Gallery Funded by Arts Council England, Grants for the Arts, University of Wolverhampton 

Links
 
Truthing Gap 
 
Video Interview
 
New Scientist 
 
http://noc.ac.uk/news/rona-lees-marine-life-talk
 
http://megagoodart.wordpress.com/2012/10/26/mega-good-video-ama-by-rona-lee/
 
http://autonomousreality.wordpress.com/2012/09/14/rona-lee-that-oceanic-feeling/
 
 http://chrissie-artblog.blogspot.co.uk/2012/10/rona-lee-that-oceanic-feeling.html
 
 http://www.a-n.co.uk/interface/reviews/single/2601916
 
 
 

The Submersion Series

  • Dartington
  • Atami - Turkey
  • Piscina Coperta
  • Hornsey Road
  • Marshall St
  • Banff - Nightpool
  • Images
  • Banff - Storms
  • Pilangsbadet
The Submersion Series

the submersion series is a series of works related to swimming pools that I have been working on for a number of years. I am especially interested in the play of safety and danger with which they are charged.

Rather than in social histories of swimming, public health or leisure, I am drawn to the spatial and symbolic properties of pools and the psychological resonances to which these give rise.