Seen in a New Light: Art Appreciation

The manner in which works of art are presented, both in public and private collections, is one of the most important aspects in achieving maximum valuation and appreciation.

In our latest issue of Arts & Collections, our two lighting experts, James Curtis of Precision Lighting and Alex Ruston of Remote Controlled Lighting (RCL), gave advice to private collectors who want their prized masterpieces to look their best. exposed. In the second part of our conversation, our experts talk about the different challenges they face when styling high-end gallery lighting, compared to lighting a collection in a private home.

Q. The lighting requirements of a high-end gallery must be very demanding due to frequently changing requirements with new individual artworks on display, while private collectors must consider budget and flexibility of a diagram. How do you approach these different challenges?

In a commercial concession, one of the highest priorities for the lighting scenario is flexibility. High-end galleries can have incredibly high room turnover, and lighting must respect the works on display at all times.

Our remote-controlled technology has been specifically designed for this purpose, RCL luminaires empower galleries as they can illuminate exhibits without incurring additional repositioning costs or gallery downtime for scaffolding or mechanical lifts. Gallery staff can refocus and control the intensity at ground level, ideal for altering the lighting scheme to suit exhibits.

Alex Ruston, RCL

Budgets (both the initial cost and the long term cost of lighting) are crucial for the private collector. Committing to a lighting scheme that is not adaptable for future use limits what is displayed; we aspire to support private collectors long after first installation, and are delighted to supply additional fixtures as collections grow. Our universal Jack Plug system helps our customers with this because they know they can swap or replace fixtures using the same installation method; private collectors often ask us for additional monopoints to give them the flexibility to add fixtures when needed without additional electrical work.

We are aware that as private collections grow and the scale of the pieces to be lit changes, there is a need for optical flexibility; we offer interchangeable optics that allow the same luminaire to produce either a very narrow spot for small jobs, or a flood distribution for a wider light beam. By allowing the change of optics without electrical work, the private collector has the possibility of adapting its lighting scenario without additional cost. We’ve incorporated variable-beam technology into our Pico Zoom projector to bring this optical flexibility to the art market, meaning collectors can fine-tune the beam angle with great precision, ideal for matching the environment. evolution of works.

James Curtis, Precision Lighting

Q. Can you give an example of a gallery project that required creative lighting solutions?

A. I can’t think of an RCL gallery project that doesn’t exhibit some degree of creativity. We are always impressed with how lighting designers integrate our work into gallery scenarios. To pick one, it would be Philip Mould’s Pall Mall. Having worked with the company at their premises in Dover Street and supporting them at Masterpiece for several years, the gallery staff were aware of the capabilities of our products.

What made this project interesting were the architectural constraints and the ambitions; the architects aspired to keep the ceiling plane clutter-free and the mechanical elements out of sight. Our DR8 projector has been recessed into ceiling bowls thanks to their tight turning radius, minimizing the impact of lighting and respecting the heritage of the building, while offering the modern functionalities of remote control of pan and tilt. inclination for which our luminaires are renowned, i.e. the gallery could easily adapt the lighting to the works presented. The fusion of sophisticated lighting technology and traditional interior design echoes the gallery’s juxtaposition in which both Old Masters and contemporary British art are displayed.

Alex Ruston, RCL

One of the most exciting gallery projects Precision has been involved with is the Watts Gallery. Working with gallery curator Mark Bills and Saija Singer of architectural firm Galata Studio Architects, we have developed a scheme that perfectly illuminates the work of Victorian artist, George Frederic Watts.

Over 150 luminaires from our Evo collection are discreetly hidden in concealed trenches in each gallery space, and consideration has been given to incorporating controlled daylighting for a balanced aesthetic while utilizing artificial floodlighting for accent lighting. focal lighting of each piece of a collection. presented in more than a hundred canvases from Watts’ career spanning more than seventy years.

The breadth of work produced by Watts meant that we had a unique challenge to light not only canvases, but also carefully illuminate in three-dimensional space a number of sculptural pieces, including a monument to Lord Tennyson and gesso grosso works. .

James Curtis, Precision Lighting



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