Anthony McCall is a master in his craft, blurring the lines between cinema, sculpture and drawing. At Oklahoma Contemporary, that creativity takes physical form in “Solid Light,” an exhibit that allows visitors to not just observe but interact with his work. After your eyes have adjusted, st ep into McCall’s other worldly creation. Museum-goers are first engulfed in the dim gallery presenting “Landscape for Fire” (1972), an early performance film documenting McCall lighting small fires at dusk in a precise geometrical grid. On a Wednesday afternoon, a steady audience filtered through, some pausing on benches as the 1972 film flickered. The short film runs for seven minutes and is accompanied simply by the sound of wind and the striking of flames. The main room is again filled with darkness, but this time illuminated by projected beams of light, navigating to screens and mirrors. The space was filled with sporadically placed groups, each fully immersed by a projector. Everyone from young children to elderly couples were entranced when playing with the light and shadows, as if their participation were just as crucial to the piece as the equipment was. A light mist surrounded the white streams adding another interactive dimension to the experience. Attendees are no longer just spectators, they become the art themselves. The Oklahoma Contemporary’s new exhibit allows guests to play with light. | Photos provided “It’s truly an immersive ex-perience,” said Trent Riley, executive director of Oklahoma Contemporary. “You’re not only asked to become a part of the work, but to step within it.”The first work McCall created in the series, “Line Describing a Cone” (1973), plays a foundational role in that experience. Originally shown in smoke-filled New York venues, the projection relied on particles in the air to reveal its form. When McCall revisited the work decades later, he was able to recreate that mystifying atmosphere with now accessible machines, allowing the piece to evolve alongside new technology. Now nearing 80, he is experiencing a renewed period of recognition, one made possible by technology catching up to his futuristic concepts. “I think his resurgence is such a beautiful part of the story, but above all, it’s time that caught up with him and allowed his creativity to really flourish in a way that very few creatives ever had the opportunity to experience over the span of their lives.” Riley said.Born in postwar London in 1946, McCall began as an avant-garde filmmaker before relocating to New York in the early 1970s. It was there, Riley said, that a simple moment of sunlight filtering through a window into a dusty room sparked the idea that would define his work. The resulting pieces shifted attention away from the screen and toward the projector itself, turning light into a sculptural, time-based drawing. Bringing “Solid Light” to Oklahoma City required that same alignment of vision and capability. The exhibition is presented in collaboration with the Tate Modern, where the show was previously exhibited. This is the first time McCall’s work has been shown in both Oklahoma and the larger Midwest region. According to Riley, partnerships like this are part of a broader effort to bring internationally recognized work to Oklahoma. “Our belief here at Oklahoma Contemporary is that everyone deserves to have access to these world-class art experiences that you find at our capitals around the world, such as London, Tokyo, Berlin, Paris.” “One of the best gifts we can provide our community is access to those sorts of exhibitions,” continued Riley, “doing so not only in their backyard, but for no cost.” Oklahoma Contemporary’s architecture was another aspect that allowed this exhibit to thrive. Unlike many traditional museums, their galleries have up-to-date and flexible HVAC systems that can handle the haze necessary for McCall’s work without compromising the space or needing additional accommodations. “It was really the dynamic nature of the design that lent itself to making this a partnership worthwhile for Tate because typically they’re traveling exhibitions to large coastal centers when they come to the United States.” said Riley. The unique exhibit draws a wide range of visitors, including families, couples, and children, each engaging with the work in different ways. Riley said that range of interaction is part of what makes the exhibition distinct. “Children will run right into the work,” he said. “Adults tend to hesitate at first. But once they step in, it changes how they connect with it.” As visitors move through the space, the light shifts with them. Bodies interrupt and reshape it, and the installation becomes dependent on presence and movement. In a setting where distance is usually expected, “Solid Light” invites interaction. The post Illuminating Oklahoma City appeared first on Oklahoma Gazette. ...read more read less