Lighting in Design November-December 2015

The penetrating life-look that grips visitors from the darkness of the wall-mount is unnerving in its intensity, and it is only on closer inspection of this over-sized portrait that it becomes obvious the artwork is an oil painting and not a photograph. The almost sculptural effect of the hyper-realistic artwork of Matthew Penn is the pinnacle of per- fection in the Chiaroscuro style, which works with dramatic contrasts between light and dark; helped, to excellent effect, by the precision accentuation delivered by spotlights. In striking similarity to the works of Caravaggio, Rembrandt and Titian, people in Matthew Penn’s focus seem to jump off the canvas in the directional light that is projected onto a dark background. The 27-year-old self-trained artist uses techniques of Chiaroscuro defined byTenebrism, itself a style that arose around 1600 and was perfected during the Renaissance. In this style, light finds a new, dra- matic role and, with expert use of strong contrasts between darkness and light, the personalities and body language of the characters are emphasised, giving the spatial depth of the artwork even more power. Matthew Penn regards light holistically and as an integral component of all his artwork. This not only applies to the technique, but also to his creative process. The portraits’ almost hypnotic qualities are only revealed with the right lighting systems in place. Penn uses ERCO lighting in his atelier and equips every piece of art with ERCO spotlights – these emphasise the Chiaroscuro ef- fect thanks to their precise accentuation. The goal Caravaggio-like lighting effects

emotion. In order to achieve this goal, ultimate precision of the photometric technology is key to avoid spill light on unwanted areas of the artwork. The light is almost painted into place. A further important theme of the exhibition was the selection of colour temperature. The art- ist selected Pollux 3 000 K warm white luminaires to emphasise faces, skin, hair and even wrinkles. Artistic lighting within the paintings is highlighted in neutral white, at 4000 K, which creates a life- like and almost three-dimensional effect. Penn explained, “This way of sculpting and manipulating the light on the painting enhances it to complete the piece. The combination of lighting and finished hyper-realistic painting takes the work into a mes- merising and engaging darker atmosphere where the viewer is transported and immersed within the portrait – a way of lighting not just to display the art but to enhance it and become part of the art itself.” ‘Matthew Penn – Illuminating Characters’ represents a collaboration between the artist and ERCO, a specialist in architectural lighting with LED technology. Highlights of the exhibition are the artis- tic approach and the significance of light in Penn’s creations. The exhibition is designed to be mobile. To find out more about Penn and his work, refer to this link: www.erco.com/matthew-penn/en ERCO: www.erco.com

Below: Matthew Penn lighting the scarf Copyright: Matthew Penn Art, Photographer: GilesToller

is simple – collectors should be able to enjoy the artwork with exactly defined illumination and, in this way, the artist can be sure that the full power of his work is enjoyed. The exhibition space in which the artistic project by Matthew Penn, ‘Illuminating Characters’, took place is a temporary black cubicle. Pollux spotlights were used, either with 2 W narrow spot distribution or as a 6 W contour spotlight, which was ideal for the illumination of the three extremely large paintings. “I use Pol- lux lights because they allow me to sculpt the light on the painting with more control and a refined definition,” Penn explained. He uses ERCO light- ing tools to deliver targeted accent lighting onto specific details, lending further depth, and beyond that, true

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