Canadian, born 1966
Chain A 5:1:56:7, 2001
Waxed Birchwood, printed aluminum panel, white glass, diffusion foil, cables, RGB lighting systems, five DMX boxes, and one Black Box
19 5/8 x 118 1/8 x 19 5/8 inches (49.9 x 300 x 49.9 cm)
Elisabeth H. Gates Fund, by exchange, and Charles W. Goodyear and Mrs. George M. G. Forman Funds, by exchange, 2012
Angela Bulloch’s sculptural light installations reference the symbiotic relationship between man and machine within the context of an artwork. Interested in how we organize and process different types of information, Bulloch is mainly influenced by the location in which she makes a work and her daily interactions with the outside world, such as going to the cinema or listening to the radio. She cites the wall drawings of Sol LeWitt (American, 1928–2007) as another formative influence, including his statement that “The idea becomes the machine that evokes the art.” Bulloch began to design light installations in the early 2000s; the pixel boxes that continue to appear in her works, including this one, were developed as a prototype in the 1990s by the artist and a group of engineers. Taking form as cubes on the floor, stacked to the ceiling, or arranged into entire walls, Bulloch’s installations center on pixelated patterns that evoke traditional subjects such as landscape, still life, and portraiture. In some of her earliest works, she empowers the viewer, who is able to control the pixel and sound patterns through biofeedback systems.
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