|Untitled, 2011, lacquer on retroreflective fabric|
Cold Fire (2008) carried forward that fascination with a particular colour range and unusual supports. It looked at fluorescence, in which radiation coming from outside our visible spectrum is transformed into visible light. Four paintings generating a strong internal contrast through fluorescent green paint on black velvet were combined with the comparatively monochrome effect of four paintings applying transparent varnish to fluorescent yellow satin. Lergon explains that ‘Cold Fire’ is another term for fluorescent glowing, referring to how ‘it is an excess of light produced without heat generation made possible by the molecular processes in such fluorescent colours’.
In Nimbi (2008: the plural of ‘nimbus’, the Latin for ‘halo’) Lergon painted with lacquer onto highly engineered retro-reflective surfaces, which, unlike conventional materials, reflect incoming light rays straight back in the direction of their source (both real and road-lighting cats eyes work similarly). This changes the normal relationship between the work and its observer, one effect of which is that when the light is at the back of a static viewer, a halo of light is produced around the shadow of his head. One might be reminded of Kirlian photographs claiming to show the aura around people. As Lergon points out, a similar effect ‘also exists in nature, for example when a dewy meadow is lit by the sun’. Another effect is that a moving viewer is constantly reminded of their own motion, as the lacquered forms change size and shape, or disappear entirely depending on where the viewer is...
|Untitled, 2012, water on pulverized iron on canvas|
|Untitled, 2008 untitled, lacquer on retroreflective fabric|
|Untitled, 2008, lacquer on fabric|