For the majority of gallery visitors, sight is the principal sense through which we can experience artworks. To facilitate good vision we need good lighting and light is therefore an essential element of the gallery environment. But the very light that activates our vision can also damage the precious exhibits we wish to see. Exhibition lighting itself therefore embodies the classic dichotomy at the heart of the museum, the competing roles of preservation and display.
It is everyday parlance to talk about seeing things in the best light, but in the museum environment, what is the best light? Light is a remarkable medium that can subtly alter our view of an artwork. Small changes between light sources can make a sunset seem sad, a stormy sea look friendly and a rosy complexion look sallow. Given that these changes could be deliberate or accidental, how can we know 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 with the aid of live interactive examples. The presenter will also discuss the role that the art and science of exhibition lighting plays in revealing and concealing the artwork in our galleries and how good lighting can aid both the interpretation of an artwork whilst maintaining excellent conservation standards.
Malcolm Innes’ deep fascination with the perception of brightness at conservation light levels was born out of 20 years designing lighting for clients such as National Galleries of Scotland, National Museums of Scotland and the V&A. His empirical experience from many years of illuminating sensitive exhibits has shown that there is often a disconnect between light meter 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 through design led experiments and research projects including creative uses for digital projection.