Signify Philips Lighting

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(0:27) What I would say, there’s not really one specific area, it depends, all the installation work that I make is truly site-specific, so it’s just a study of the building itself, of the public area, and I start from there.

(0:48) It was a dream, and I just activate that. Coming from my own interest, I think that to live parallel to technology is very exciting, because my philosophy is about how important it is to live your present moment, the past is already gone, the future is always uncertain.

(1:10) You could get put anytime, but the present moment is what it really has a lot of meaning for me, and technology, it keeps me alive, and I think that it’s just something that makes me not feel prehistoric, and I have a lot to look, it’s exciting.

(1:27) I think that I could bring a lot of knowledge into how could I develop a lot of other aspects that people have not think about it, just doing it practically every single day, if you work with it.

(1:45) My cultural heritage, I come from Peru, and I think that’s very vast, and it’s always, I think it has been embedded, and as nature, nature is very powerful, it’s an endless source, human beings, that’s always very magical, mysterious, and it’s totally, I would like to call it a romance with the unknown.

(2:10) I don’t think there’s anything like that, being active, interactive, for me, it’s a work of art, and so I don’t want to control what people are going to do with my work, because it’s just too much work, and a lot of effort, and I could only work upon my own vision, and thinking that they are going to respond to that, in ways that I would love to be surprised myself as well, so I like to learn from my viewer.

(2:42) Well, I love to be completely alone, since that to me is a luxury, I’m always surrounded by a lot of people, on an everyday basis, so I like to be alone, and start basically thinking about the context, as to where the piece is going to be located, and what country, the traditions, is it going to be a public piece, is it going to be inside a museum, is it in a gallery exhibition, is it going to be into a collector’s home.

(3:16) I think that really starts my process, and it just, and it depends, it could be five hours, or it could be two days, or it could have been in my mind already for a while, and all of a sudden it just clicks.

(3:35) I think that the last one, each one becomes memorable, and I cannot pinhole as to which one precisely will be, because each one, at the time it finished, Grimanesa put a hundred percent of everything that I got, so that tells me that I think that piece is always going to be fresh, and I learn with it, so I wouldn’t say that I prefer this one over the other, I just love them all, and for me, every one is like I have done, I’m making it for the first time.

(4:12) Oh, I love that question, because of course I have a lot of ideas as to how to use the ethereal part of lighting, and bring that physically, and I think it could be that. Yeah, it’s magical, I love how people respond to it, I love the fact that it’s ephemeral, so you cannot own light, even if you want it, and even if I present it to you in sort of a physicality, still you cannot detain, because time is precious, right?

(4:52) So light has that play with time, and I think that becomes the magical, and the play with the unknown, that I was referring.