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The possible dangers from overhead power lines are an environmental issue that has come under the scrutiny of Bristol-based artist Richard Box.

For example, whilst Artist in Residence for a year at Bristol University, he amassed large numbers of fluorescent lighting tubes from hospitals and institutions around Bristol. The tubes were arranged in a field and near to overhead power lines. The electromagnetic emissions caused the tubes to glow in a way that was markedly affected by the position and proximity of spectators. The work vividly brought to public attention, in a creative and interactive way, how the effects of scientific and technological developments can sometimes remain hidden.

Richard’s work typically exhibits a fusion of science, art and nature and during his residency at Taurus in December 2002 he explored ways of harnessing the wind coming across the flood plain of the River Severn. In the same way he had used discarded fluorescent tubes at Bristol, at Taurus he planned to use discarded satellite dishes to produce outdoor kinetic light sculptures. These would appear as luminous objects, which by their movement suggests floating pulsating spheres of light.

A recent article in the New Scientist described a fresh theory for the phenomenon of ball lightning. The suggestion that ‘fulgurites’ (hollow glass tubes formed when lightning strikes the ground, melting the surrounding soil) play a part in the birth of fire balls was intriguing and gave rise to the name From Fulgurite, for his installations at Taurus. By fascinating coincidence, at an illustrated talk Richard gave about his work a member of the audience recalled how he had indeed been witness to ball lightning at Ruardean and how it was a relatively common occurrence at Ruardean Hill.

Richard’s sculptures, by the nature of the effect they wished to explore, are sited on the roadside field at Taurus. His approach was to first build several maquettes that acted as working models on the technical side, whilst also giving a three dimensional indication of their eventual appearance. Many technical aspects had to be considered. Could satellite dishes be cut to form revolving vanes and provide sufficient power to a geared dynamo to produce sufficient electricity to light fluorescent tubes along their perimeter and to give the pulsating light effect he sought? This would require sourcing re-claimed components, and only actual trials would establish whether the theory would work in practice. In tests, the bearings reduced the efficiency to an extent that prohibited the use of this technique. With time slipping by, Richard decided to investigate an alternative solution.
 
In the end he scrapped the use of actual satellite dishes in favour of the lighter hollow tubular rings which formed the mounts for the dishes. The resulting structure took on the appearance of an anemometer. Instead of using fluorescent tubes to provide the glow-like effect of a fireball, Richard experimented with different paints - paints that would fluoresce in the ambient light levels of the roadside site. It is at dusk that the three ‘balls’ that make up From Fulgurite take on their glowing nature.

In addition, Richard has created an artwork called Rods and Cones. Throughout the car park, and on the entrance road to Taurus, he has mounted hundreds of pairs of coloured glass marbles on wooden stakes. Their back hemispheres have all been silvered using an aluminium coating. At night, when car headlights fall on the marbles, they reflect back giving the impression of nocturnal animals waiting in groups to take over the night shift.
 

Trained at Hastings College of Arts and Technology and Winchester School of Art. B.A. (Hons) Fine Art, Sculpture

Exhibitions and commissions include:

Artist in Residency, University of Bristol working on large installation ‘Field’; Installation at Albion Public House, Bristol; Open Studios, Spike Island, Bristol; Squeeze Spike Island, Bristol; Broomhill Sculpture Garden, Barnstaple; Ashton Court Community Festival, Bristol; Open City, Bristol; Solo show and installation at Eat the Beat, Bristol

Chair, Bristol Sculpture Shed

Co-ordinator, Open City, Bristol
 

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