About the work
The conditions around something are part of its design.
Light, material and position shape what we encounter. A curve becomes visible through the shadow beside it. A transparent surface gathers colour where another passes behind it. A lifted edge gives light a small interval to enter.
These three studies follow those relationships through different arrangements. The first gives illumination a broad field to cross. The second brings attention to material, contour and contact. In the third, their forms meet: recognizable elements acquire new neighbors, and the space between them changes.
Light across a shared field
Study 1. Light across a shared field. AI-generated digital artwork.
Light appears to pass across and through the overlapping forms. Translucent colour, long diagonal shadows and an open field make the surrounding illumination part of the composition. The broad curve and angular planes give that light different edges to follow.
The wide format leaves room to trace those relationships. Changes in pigment density and overlap invite attention to what is revealed, softened or held in shadow. A line may first appear to divide the image, then become a route through it.
A shift carried through the layers
Study 2. A shift carried through the layers. AI-generated digital artwork.
Lifted edges and overlapping pale planes give this study a physical sense of depth. The curved sheet offers an echo of the Fondation Louis Vuitton's facade contours. Graphite traces and interrupted marks invite a closer look at how the layers meet.
The square format and close view bring attention to small distances between materials. Opacity, surface texture and localized shadows make the suggestion of a shift perceptible through its effects on neighboring forms. The marks allow us to imagine another arrangement without settling a single account of what happened.
The combined study
Study 3. Combined deconstructivist study. AI-generated digital artwork using the first two studies as references.
A translucent curve meets an opaque edge and continues across an opening. Paper interrupts a broad passage of light. Lines resume at different positions, while fragments of the earlier compositions remain recognizable.
The third study brings the first two into a more unsettled spatial relationship. Displaced planes, oblique joins and an angular opening give their familiar materials new roles. Light crosses the seams; the seams give it another route to follow.
The differences between the first two remain active here. Transparency and opacity, broad illumination and small edge shadows, a sweeping contour and a physical interruption all contribute to the new arrangement.
Looking between the three
The works invite a return as well as a progression. After encountering the combined study, a quiet edge in the second or an overlap in the first may become more noticeable. Each image gives the others something to stand beside.
What becomes visible when something familiar enters a different relationship?
References and making
The exploration began with a conversation about experiencing Frank Gehry's Fondation Louis Vuitton through its architecture, artwork, materials, water, landscape, natural light and shade. Explore the building.
Daniel Buren's temporary Observatory of Light installation, 2016–17, provided a related reference for how coloured filters and changing light can alter the perception of an existing work. Explore the installation.
The first two images were developed from separate composition and material briefs. The facade resemblance in the second emerged during review. Both images then became references for the combined study, which explores a deconstructivist direction through displacement, intersecting planes and exposed intervals.
All three were made with AI image generation. Their glazing, paper, acrylic and graphite qualities are digital interpretations. The narrative and pull quote are original AC working language. Architectural and artistic references are credited to Frank Gehry and Gehry Partners, and Daniel Buren.
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