For the majority ofÌýgallery visitors, sight isÌýthe principal senseÌýthrough which we canÌýexperience artworks. ToÌýfacilitate goodÌývision we needÌýgood lightingÌýand light isÌýtherefore anÌýessential elementÌýof the galleryÌýenvironment.ÌýBut the veryÌýlight thatÌýactivates ourÌývisionÌýcan alsoÌýdamageÌý³Ù³ó±ðÌýpreciousÌýexhibitsÌýwe wishÌýto see.ÌýExhibition lighting itself therefore embodies the classic dichotomy at the heart of the museum, the competing roles of preservation andÌýdisplay.
It is everyday parlance to talk about seeing things in the best light, but in the museum environment, what is the best light? Light isÌýa remarkable medium that can subtly alter our view of an artwork. Small changes between light sources can make a sunset seem sad, aÌýstormy sea look friendly and a rosy complexion look sallow. Given that these changes could be deliberate or accidental, how can weÌýknow what is the ‘right light’?
Examples of good and bad lighting exist in every museum and this talk will explore a wide range of light and shadow effects withÌýthe aid of live interactive examples. The presenter will also discuss the role that the art and science of exhibition lighting plays inÌýrevealing and concealing the artwork in our galleries and how good lighting can aid both the interpretation of an artwork whilstÌýmaintaining excellent conservation standards.
Malcolm Innes’ deepÌýfascination with ³Ù³ó±ðÌýperception of brightnessÌýat conservation light levelsÌýwas born out of 20 yearsÌýdesigning lighting forÌýclients such as NationalÌýGalleries ofÌýScotland, NationalÌýMuseums ofÌýScotland and ³Ù³ó±ðÌýV&A. His empiricalÌýexperience fromÌýmany years ofÌýilluminatingÌýsensitive exhibitsÌýhas shown thatÌýthere is often aÌýdisconnectÌýbetween lightÌýmeter measurements and the human visual experience of low light environments.
Now, working as a Reader in Design at Edinburgh Napier University, Malcolm is exploring his practical experience of lighting museums throughÌýdesign led experiments and research projects including creative uses for digital projection.