kq:  On the way home this evening, I realised that everything I
       have brought with me from work today has to do with light!!
     `Overlay’ - the cover of Nancy Holt’s `Sun Tunnels’ ...
     `Sculpting the Environment’ - this book homed in on me. I
       had forgotten all about it but someone else remembered to
       put it aside for me. The cover has`Gestation’ by Baile Oakes
       (Winter Solstice Marker).
       Finally,`Catching the Light’ by Arthur Zajong - this came to
       me through my work - subtitled `entwined history of light
       and mind’. All of which `entwine’ extremely well with the
       images you have given me!

an:  Karen, it almost felt as if the sun were burning its layer into
       the wood, adding a precise dimension of its own. It was
       saying ... `without my overlay, your work is incomplete’.
       We don’t have that beautiful northern light here in Ventnor
       just an intense, paning-golden sky with the same from the
       sea and its reflections. Its an `uneasy’, burning light. From
       here our little star really asserts itself!

kq:  “...space clearly is not empty but filled with light. Yet with-
        out an object on which the light can fall, one sees only
        darkness. Light itself is always invisible. We see only
        things, only objects, not light.”

       “Besides an outer light and eye, sight requires an `inner
       light’, one whose luminance compliments the familiar outer
       light and transforms raw sensation into meaningful percep-
       tion. The light of the mind must flow and marry with the
       light of nature to bring forth a world” (Zajong)

an:  I remember asking ... `from where does the light in our
       dreams come?’

kq:  The images suggest that the source of the light is greater
       than what we are allowed to see. That we’re only seeing
       part of the whole.

an:  Do you think that?

kq:  The fact that the intensely bright pattern lies in an area
       of particularly dark shadow is dramatic and somehow
       strange. The whole thing feels very structural/architectural
       /monumental as if viewd from the air - could be a temple
       or monument of alignment as in standing stones.

       The whole sense (potential though it may be) of the
       movement of the sun across the sky, and the resulting
       difference in shadows cast, draws on a fundamental human
       experience repeated every single day of our lives. Are these
       images, then,`markers’ marking time?

an:  I like the idea of `sun temples’, it’s a theme that reoccurs
       in my work, especially recently in the`virtual architecture’
       pieces - very dependant upon a single, bright light source.

kq:  At the particular point in time of each image, are we at an
       optimum point? (ie between increasing/decreasing light)
       - a turning point?
      
       Despite all this talk of movement, the sense of stillness
       prevails - kind of self containment or closure ... not sure
       about this ...

       I see lines of light and shade, but lines don’t exist per se -
       this is how we make sense of the pattern - a construct of
       our mind.

       You tell me that the the sequence of images represent
       for you the idea of `open relationship’ ...

an:  Whilst reading your notes (at this point), I am
       listening to Alison Krauss, the track `Happiness’ :-)

kq:  I see bars of light and shade; I feel a sense of constraint.
       The light is not floodind across an open plain but is being
       guided, forced, channelled through obstructed limited ...
       The bars are real - not physical in the sense of prison (ie.
       steel) bars, but, but exist as light and darkness. Don’t we
       do this in our minds? Not made of steel but just as impris-
       oning ...

       Some of the photos reveal a shadow which seems as
       substantial as that which is creating it. Also the pattern
       looks as if you could slot it neatly into the block. Has
       something escaped from the block? Has it opened out?

       You choose to place (in some of the images) a block in
       the path of the extending pattern of light/shade - not to
       leave it open (I keep coming back to this) but to contain
       and redirect the pattern. This reminds me of`Gestation’,
       the Winter Solstice marker (I will get a photocopy for you).
       We look through this structure at the light source itself in
       addition to seeing the bar of light extending along the
       ground.

       As with photographic and cinematic processes, you have
       placed a screen to `capture’ the image(?). You have,
       however, created an interesting`place’ - like being in a
       church with the sun coming in through tall windows, or
       driving along a road with trees evenly spaced along the
       edges with the evening sun slanting through ... plays
       havoc with one’s vision!

      “Ever splitting the light! How often do they strive to divide
       that which, despite everything, would always remain single
       and whole.”                                                       Goethe

      “It seems that the human mind has first to construct forms
       independently before we can find them in things.”
                                                                    Albert Einstein

      “Silence broods. in it resides the restless, “unmeasurable”
       desire to be”. when the desires of Silence meet Light, “the
       measurable, giver of all presence”, worlds arise. From these
       two originates all that is made”                   Louis Kahn.