Fiona Grady and Tony Blackmore are exploring light’s relationship to surface. They create large-scale interventions that literally draw with light and question our understanding of how we view, filter and experience light in our surroundings. They play with light’s relationship to surface and their interventions question how we view, filter and experience light in our surroundings. In their forthcoming collaboration, ‘Beacons’ they build upon their first project ‘Drawing with Light’.  By translating light through filtering mediums, ‘Beacons’ will explore controlling and subverting the colours of light and the relationship between light and colour.



Fiona Grady creates large site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. The drawings are spatial systems composed from repeating intervals that expand in proportion or direction. The use of repetition is a means to set in place an unconscious balance or understanding, that can be interrupted by the introduction of a changeable factor. This challenges the viewers reading of the drawing asking them to consider its internal logic.

Her practice recognizes the relationship between architecture, installation art and decoration, often using traditional mediums in a modern context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. She works with handmade materials including egg-tempera paint and Japanese paper; using the gestural brush strokes, embossed edges of the masked lines and faded pencil grid as tactile traces of the artists touch. Her palette alternates between muted subtle tones and bright contrasting colours, dependent on the loudness of their environment. The artworks are imaginings of how light moves throughout a space, stretching and rotating with the throughout the day. However she does not seek to literally map light but instead create rhythms; the blocks of colour act as a vessel that pinpoints the viewers’ presence within their setting and allows them to contemplate their surroundings.

To compliment her site-specific drawings, she creates works on paper that explore the artistic process further. These artworks are a means to test out ideas, finding new drawing techniques, spatial possibilities and are preparations for her temporary artworks. In her prints, method takes control of the image, as each printed layer allows traces of previous marks to be transplanted within the image as dictated by the numbering system. This shifting of imagery indicates the struggle between the artists’ touch and the mechanical printing method.