Light Sculpture by Trish Campbell
Tāmaki Makaurau
Dimensions: 2432x130x130mm
Medium: Acrylic, Gel, 13w 24V Standard LED Ribbon IP65 4200k
Indoor Use Only - 2350mm LED - 1800mm white tail
60W plug and play 2.5A-24V power supply
Series: Alpha, Beta, Gamma
My light works begin without a fixed image or destination. I follow the behaviour of light itself — how it travels, reflects, refracts, fragments and occupies space. The work develops through that conversation between material, environment and perception. Form and meaning emerge through interaction rather than intention.
I am drawn to industrial and everyday components — plastics, reflective surfaces, structural elements, luminous sources. Materials you might find in an office or a factory or a public space. On a domestic scale these elements are reconfigured to create experiences that would otherwise only exist in large institutional or functional settings. I wanted to bring that drama home.
I didn’t set out to make something that would nourish people. I set out to nourish myself. I was unwell and didn’t yet know it, and something in me was looking for joy through colour and light before I understood why. What I discovered was that others felt it too. The works became a tonic, a mood enhancer, an artwork — sometimes all three simultaneously.
Reflection and diffusion are central to how they operate. Surfaces fracture and multiply light, dissolving boundaries between object, environment and observer. The viewer becomes part of the work — implicated in shifting fields of colour, shadow and reflection, where perception is quietly unsettled and the familiar becomes uncertain.
I do not think about what I wish to convey when I begin. I never know. I follow what feels right. The light tells me when it’s done.
Light Sculpture by Trish Campbell
Tāmaki Makaurau
Dimensions: 2432x130x130mm
Medium: Acrylic, Gel, 13w 24V Standard LED Ribbon IP65 4200k
Indoor Use Only - 2350mm LED - 1800mm white tail
60W plug and play 2.5A-24V power supply
Series: Alpha, Beta, Gamma
My light works begin without a fixed image or destination. I follow the behaviour of light itself — how it travels, reflects, refracts, fragments and occupies space. The work develops through that conversation between material, environment and perception. Form and meaning emerge through interaction rather than intention.
I am drawn to industrial and everyday components — plastics, reflective surfaces, structural elements, luminous sources. Materials you might find in an office or a factory or a public space. On a domestic scale these elements are reconfigured to create experiences that would otherwise only exist in large institutional or functional settings. I wanted to bring that drama home.
I didn’t set out to make something that would nourish people. I set out to nourish myself. I was unwell and didn’t yet know it, and something in me was looking for joy through colour and light before I understood why. What I discovered was that others felt it too. The works became a tonic, a mood enhancer, an artwork — sometimes all three simultaneously.
Reflection and diffusion are central to how they operate. Surfaces fracture and multiply light, dissolving boundaries between object, environment and observer. The viewer becomes part of the work — implicated in shifting fields of colour, shadow and reflection, where perception is quietly unsettled and the familiar becomes uncertain.
I do not think about what I wish to convey when I begin. I never know. I follow what feels right. The light tells me when it’s done.
