Comments on current project
I would like to support the application by Paul for research and development funding. I have known Paul for over three decades and have always been impressed by his dedication as a highly individual artist, and intrigued by his work. There has always been something of the inventor about the way he has explored ways of using materials to manipulate aspects of the environment, particularly sound and vision. His current work with light and shadow has prompted this application, as it has resulted in the development of screens that respond to movement in extraordinary ways with the minimum of input.
The concept behind these is simple technically, but totally original, and ripe for further development. This grant would allow Paul to extend his enquiry in three ways. 1. The involvement of new materials in terms of the surfaces onto which the images would appear. 2. Development of applications commercially and environmentally of the techniques; for example in Architectural situations. 3. Identify and make contact with organisations, individuals, and possible partners, through which he can explore and realise the full potential of this exciting breakthrough.
Keith Cummings. Emeritus Professor of Glass Studies. University of Wolverhampton
Paul’s ‘Screens’ and ‘Invisible paintings’ are remarkable works. They are subtle and very beautiful pieces. Many of the screens suggest natural forms, complex and simple; others are more abstract. Their construction method facilitates interaction between each screen and its local light sources. The surface of the work is illuminated by reflected, diffused light, tinted by the colour of the underlying structure and materials of the screen.
The appearance of each individual screen can change strikingly under different illuminations. In daylight, or in harsher artificial light they present a beautiful and relatively static image. Set against a video screen or projector display of a moving image, they are stunning, vibrant and dynamic. When the light source is a video screen or projector connected to a video camera, and particularly an infrared camera, the moving image becomes inter-active and quite stunning.
The screens seen together as a group create beautiful environments, which depending upon the light sources can be either tranquil or sensational.
Recently, Paul has developed his ‘Invisible paintings’. Building upon the construction techniques of his screens, Paul has developed new interactive works, which when approached from in front of a dominant light source, at first appear uniformly opaque with no image detail whatsoever. As the viewer approaches and casting a shadow, the ‘Painting’ or rather the image begins to reveal itself. The revealed image interacts with the viewer’s movements and their distance from the work. The whole image may only ever be seen fleetingly.
Paul’s ‘Screens’ and ‘Invisible paintings’ have qualities suggesting digital art forms, but other than utilising video as a light source they are very much analogue pieces.
Mark Peate Studied Fine Art at the University of Reading (BA Hons), Postgrad study at Goldsmith’s College, University Of London
In Paul Gittins work there is a sense of the human, the human as atom. The pieces engage with our sense of temporality through their fragmenting of form. The pieces explore notions of form through their individual cells, the viewer becomes aware of themselves on a cellular level through the interaction with pockets of light that give illumination to the image, albeit a temporal one. The pieces come to life with the presence of people, and in so doing art becomes an encounter, there is an air of temporary completion in the interaction in the image and in the viewer. The viewer is the one who completes the piece, for as long as they engage with it, and in stepping away the pieces become vessels once more.
Frederick Hubble, (BA Hons) Birmingham City University
A continuing evolution…
I have been delighted to observe the on-going evolution of Paul Gittins’ work, from when he first modified the flickering light of a TV by placing a small beautifully crafted paper and perspex screen in front of it, to his more sophisticated and large scale “shadow screens” exhibited as interactive artworks at Glastonbury Festival and also utilised in spectacular multi-media performances at Glasshouse College/Ruskin Mill in Stourbridge.
Recently he has been developing concepts for new works that are intended to subtly react to light projected onto them, or to daylight, rather than reacting to a light source from behind – these include what he terms “sand diffusion” pictures, and artworks where shadows falling on them will mysteriously reveal hidden patterns.
Shadows will, he promises, become animated and take on a life of their own…These “moving shadow pictures” clearly have great architectural potential, as site specific public artworks - for example as surface cladding for interior or exterior use, in contexts such as subways, corridors, facades, and foyers…
He says he is partly inspired by the work and career of Nikola Tesla, and certainly one can sense something of the same kind of prolific creative drive, a kind of “scientific magic”.
Steve Field RBSA, Dudley Borough Artist/Art adviser;
Art Adviser to Dudley Group of Hospitals NHS Trust
I have been delighted to observe the on-going evolution of Paul Gittins’ work, from when he first modified the flickering light of a TV by placing a small beautifully crafted paper and perspex screen in front of it, to his more sophisticated and large scale “shadow screens” exhibited as interactive artworks at Glastonbury Festival and also utilised in spectacular multi-media performances at Glasshouse College/Ruskin Mill in Stourbridge.
Recently he has been developing concepts for new works that are intended to subtly react to light projected onto them, or to daylight, rather than reacting to a light source from behind – these include what he terms “sand diffusion” pictures, and artworks where shadows falling on them will mysteriously reveal hidden patterns.
Shadows will, he promises, become animated and take on a life of their own…These “moving shadow pictures” clearly have great architectural potential, as site specific public artworks - for example as surface cladding for interior or exterior use, in contexts such as subways, corridors, facades, and foyers…
He says he is partly inspired by the work and career of Nikola Tesla, and certainly one can sense something of the same kind of prolific creative drive, a kind of “scientific magic”.
Steve Field RBSA, Dudley Borough Artist/Art adviser;
Art Adviser to Dudley Group of Hospitals NHS Trust
I have known Paul Gittins for a number of years and have always been impressed by his original highly individualistic approach.
His work is always imaginative and innovative, experimenting with new media or pushing existing media in previously unexplored directions.
The works produced are invariably the result of extensive experimentation, his current project with light diffusion is no exception. His new venture, devising graphical methods of achieving delicate colour and tonal effects and the ingenious manipulation of shadows will show a new way of making interactive imagery.
Rodert Perry, RBSA
Examples of images produced by placing coloured strips of paper underneath a sand coated screen,
no pigment used on these surfaces, the colours are produced from reflected light radiating from the paper construction.
no pigment used on these surfaces, the colours are produced from reflected light radiating from the paper construction.
paper construction underneath the sand screen
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diffused light as it appears on the sand screen
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Invisible picture
Shadows reveal the hidden pattern of paper cells contained behind the screen of sand.
Shadows reveal the hidden pattern of paper cells contained behind the screen of sand.
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