Uriel Levi's Wonderful World of Altered Consciousness Presents:

LightWater: A submarine array of reflective panels focused on a central column of illuminated votive space.

While scouting locations for an early WaterWorks installation, I came upon a school of silversides (Atherinidae). The school assumed the form of a great hollow cylinder extending roughly 30’ down to just above the sandy bottom. Just as I swam across the upper opening of this shimmering silver cylinder a black and white spotted eagle ray glided across the bottom of it. That serendipitous moment has remained transfixed in my memory and serves as the inspiration for LightWater.

The LightWater structure takes the form of an array of reflective parabolic panels. The panels are incorporated into a biorock® mineral accretion framework and arranged so that they concentrate light onto a cylindrical central focus. The Biorock® system establishes the foundation for a new living coral reef that will eventually encrust the entire structure. Supplemental light can be selectively introduced to the reflective panels to enhance luminance and or to attract nighttime visitors. Supplemental lighting can be turned off to accentuate naturally occurring bioluminescent events. The array will also modulate ambient and introduced sounds. The entire array is accessible to marine wildlife, snorkelers and scuba divers. Remote viewing can be facilitated by audio/video monitor and or surface viewing windows.

Background

LightWater will be the fifth generation in the series of WaterWorks installations I began in 1972. It continues my long-term interest in spaces that encourage a sense of exploration, reflection and regard. This interest has led me into studies of environmental psychology, behavioral ecology, sacred architecture, patterns in nature, animal architecture, bioexhibit design and the nature of spirituality.

WaterWorks: Harbor Island, Bahamas

WaterWorks: Tortola, BVI.

I consider my work to be within the class of environmental art that facilitates environmental encounter. By designing a sculpture to be built and experienced underwater, I am attempting to establish a multi-sensory image that expresses alternative ways of relating to space. The structure becomes a form around which to focus one’s movement. An interplay develops between the initiation of movement through the form and the various modes of awareness accompanying that movement. There is a physicality inherent in sculpture making that carries over into sculpture viewing. The viewer’s level of involvement is close to the sculptor's. It becomes a context within which to exercise spontaneous aesthetic decisions while at the same time increasing environmental awareness.

I believe our collective as well as individual salvation rests in our legitimate attempts at aesthetic gestures that transform the way in which we understand and act in the world.