Last week Mead Carney Gallery in London hosted New York based artist Miya Ando and her newest collection of work, Aurora. In a new exploration of light and colour, Ando transforms anodized aluminum and steel into meditations on light.
I’ve never stood in front of a piece of Miya Ando’s work but even the flat reality of photographs don’t seem to rob her pieces of their unusual immediacy. I imagine them to be softly shimmering portals into an esoteric dimension where an ineffable truth is revealed to you the very moment you step through.
Raised between the Red Wood forests of Santa Cruz and a Buddhist temple in Okayama by her family of swordsmiths-turned-Buddhist-priests, Ando’s work imparts a distinctive experiential reality to anyone who stands in front of it.
Trained as a metalsmith in Japan, she is interested in the connection between juxtaposing forces—like that of the permanence of metal and the impermanence of light. Her pioneering surface altering techniques and chemical treatments transform reflective metallic substrates into luminous canvases of subtle gradations of colour, their tones so rarely seen that they don’t have names.
Aurora evokes the sky just as the world turns towards and away from the sun; it’s about shifting light, and the exploration of colour as the speed of light.
“I record light all around the world at the same exact moment in time. I have webcams of skies all over the place and I take a snapshots of all these different places and compare them. The poetry in this study and in this project is looking at one light going around the globe. Half of the globe is black and in darkness but you have all these other subtle shifts that are changing the sky.”
For Ando, each piece is a continuation and an evolution of a life long dialogue about exploring the small shifts and the spaces that lie in between.
If you missed the show in London fear not—Miya Ando is of the first wave of artists taking up residency at the Marble House Project in Vermont and California from July 1st to July 15th.