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Los Angeles

Phantom Galleries LA Long Beach on Pine Avenue

Exhibition Detail
Fiat Lux III
Curated by: Dangerous Curve
Various locations on or near Pine Ave
309 Pine Ave,
Long Beach, CA 90802

April 23rd, 2008 - April 30th, 2008
Fiat Lux I, detail, Susan ChorpenningSusan Chorpenning, Fiat Lux I, detail,
2008, paint, lights, plastic, wire, glass, 18' x 40' x 20'
© Susan Chorpenning, 2004
long beach
24/7 Pedestrian viewing, openings and ours are all different





Phantom Galleries LA   in partnership with the

Long Beach Redevelopment Agency presents: 


“Fiat Lux III”

a solo show by artist Susan Chorpenning, curated by Dangerous Curve



Media contact: Liza Simone






Light Artist Brightens Up the Darkest Season in Long Beach 


Susan Chorpenning's art installation "Fiat Lux III"



Los Angeles, CA, January 12, 2008 - 

Phantom Galleries LA has become known for transforming unsightly empty storefronts into vibrant and culturally exciting art experiences from Beverly Hills to Pasadena.  PGLA is  proud  to announce a  partnership with the Long Beach Redevelopment Agency in presenting their inaugural Long Beach exhibit, Susan Chorpenning's window installation "Fiat Lux III."  Curated by Dangerous Curve.


Location: 248 Pine Ave, Long Beach, CA 90802

Exhibit runs:  January 12 to March 12, 2008.

 Viewable 24/7 with optimal viewing hours between 5 pm - 1 am. 

 Gallery Hours by appointment only.

Reception for the artist TBA.


"Fiat Lux" means "Let There be Light."  Chorpenning means to light up

the darkest days and longest nights of the year.  If you've not seen

one of Susan Chorpenning's twinkling light window displays, you've not

had a true urban winter-wonderland experience!  Her last PGLA

installation, "Fiat Lux II," was like a holiday mega-display, with the

lights painstakingly intertwined and loaded on until they filled the

whole window.  From afar, the window seemed to hover in front of its

pane of glass.  Up close, one's whole field of vision was engulfed.

The effect was invigorating exuberance.


"Fiat Lux III" is more subdued than was "Fiat Lux 2," its lights

restrained (if only slightly) and elegant.  It fills the two windows to the left and

right of the location's main doorway.  The walls are painted

bright colors with added blocks of color behind some light elements.  These light elements come in a variety of shapes and sizes, such as twinkling globes, mini-lava lamps, colored compact fluorescents, and tiny, twinkling, multicolored lights mounted on frames.  Using stretcher bars throughout - but instead of being the structure for paintings, they are the structure for lights - eg. strings of lights wrapped around the stretcher bars, and variations on this theme.  These "frames" are the most recurrent image in the piece. More subtle it is, but indeed still a beautiful sensory enterprise.



More about the Artist



is from Altadena, via New York and Europe.  She has had numerous solo

shows and siteworks in galleries and museums, nationally in New York,

the San Francisco Bay Area, Texas, and internationally in Paris,

France, and Germany.  She has performed to rave reviews at Dixon

Place, The Knitting Factory, BACA, The Painted Bride, and Claremont



Among other things, Chorpenning does so-called "dark rooms," chairs

with flash units and light-sensitive rocks.  All these

things use afterimages (from phosphorescent paint or flash units that

leave traces on one's retina to mimic memory perceptions.  The "memories" can build up and overlap, and sometimes interact and overwrite each other.


Chorpenning's solo show at Dangerous Curve in 2004 was one of her

"light room" installations.  In these, she uses paint on walls and

floors to record "memories" of constantly moving sunlight streaming in

through doors, windows, and skylights throughout a given day.  All

Chorpenning's past light rooms have been records of sunlight as it

actually came into the rooms, but in "February Thirtieth," the

sunlight was completely fabricated for a completely fabricated day.

Chorpenning has noted that light traces left from another part of a

day can have a surprising psychological effect, causing the viewer to

perceive enhanced brightness in a room without really understanding

why. Imagine the effect in a room that, facing north, doesn't have any

direct sunlight at all.  The space at Dangerous Curve is such a room,

and the effect of Chorpenning's multicolored trace records was




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