Three sites remain in the final stretch of this light odyssey. Reflecting North across the survey collection from eleven latitudes I am reminded of the locality in which this work takes place and the subtlety with which to consider the details. Factors such as near and far topography, the cloud depth and quantity, local materials shaping reflectivity, and weather patterns condition the sun’s light as it reaches the instruments. Framing this collection then is a challenge in format and range. Shown here are four site sample images of light quality captured in the dish from sunrise to sunset. Each sample from the Southern Hemisphere can be read from left to right as time passes from morning to night with each slice taken from the same section in the center of the dish.
Once again daylight is increasing and nights are getting shorter.
Arrived in the Southern hemisphere where each shift south continues along the longitudinal arc of the earth as it revolves around our closest star in this six month dance with the sun. Within this calculated repetition of earth around the sun and moon around the earth, the light on land is anything but predictable. Local topography and weather treat the sun rays as regional pallets. Vast distances give way to elements that shape and shift the rays as they make their way to ground. This post shares images and drawings made when looking closely at the stratification in our atmosphere, conditions of the sky, and some of the effecting clouds from above.
Extreme weather marks the Llano Estacado. Sharp sun and blowing dust are constants shaping this environment. Typically the evidence of this force is seen in rolling tumbleweeds and passing dirt piles, neither of which stay in a single place for very long.
Wind drawings on metal are an exception to the temporal passing of weather. Plants, cables, and wires when close enough buff metal’s soft physical properties creating a pattern built up over seasons. The resultant imprint is an elegant product of force and resistance demonstrating constants and extremes. This capacity of natural forces to add to architectural meaning is described by Mohsen Mostafavi and David Leatherbarrow in their book, “On Weathering”. If incorporated intentionally the pattern from wind drawings would elevate common agricultural infrastructure to exceptional structures operating as a tapestry to weather, materials and place.
Here’s to an array of cables, fixed on one end loose on the other, draped off the side of any metal silo.