Impossible Light

A documentary about the Bay Lights is premiering later this month in the NYC area. Created by Burning Man Director – and Disorient founder – Leo Villareal, the $8 million Bay Lights Project is the world’s largest ever electronic art installation.

IMPOSSIBLE LIGHT reveals the drama and the daring of artist Leo Villareal and a small team of visionaries who battle seemingly impossible challenges to turn a dream of creating the world’s largest LED light sculpture into a glimmering reality. 

On March 5th, 2013, San Francisco’s skyline was transformed by an amazing sight: 25,000 LED lights that, for perhaps the first time save the 1989 earthquake, caused people to consider the Bay Bridge instead of her iconic sister. 

How did this happen? Who was behind the eight-million-dollar installation? How in the world did they pull it off? 

The story behind the making of THE BAY LIGHTS—a project whose very “impossibility made it possible”—answers these questions, revealing the drama and the daring of artist Leo Villareal and a small team of visionaries who battle seemingly impossible challenges to turn a dream of creating the world’s largest LED light sculpture into a glimmering realit 

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DIRECTOR’S STATEMENT

The Bay Lights is an iconic contemporary art sculpture by internationally renowned artist, Leo Villareal. It features 25,000 LED lights strung along the 1.8 mile Western Span of San Francisco’s Bay Bridge. In 2011, I stumbled into the unbelievable concept of turning an entire region’s traffic workhorse into a stunning, abstract light sculpture that changes an entire city’s skyline every night from dusk ‘til dawn.

I first met Ben Davis, the man with this not-so-simple idea, at a charity event. He was there trying to convince people on the possibility of The Bay Lights. The idea was brand new and no one had yet thought to document such an historic achievement. I basically nudged my way in, begged them to let me bring my camera, and never looked back.

In the beginning, when the installation was still an idea, I couldn’t conceive of how they would do it. That immediately made me interested. On one side, you have paperwork, permits, and all sorts of government agencies with endless red tape. On the other, you have a massive engineering structure meant to provide a very practical service to the region, which is now being viewed as an abstract canvas for contemporary art. And on top of all that, there is the very real need for millions of dollars to appear out of thin air. All kinds of questions immediately entered my mind and suddenly the project just spoke to me; I absolutely had to witness it first-hand.

I started this project because I thought it would be amazing to chronicle the process of turning a crazy idea into a stunningly beautiful reality. Along the way, I grew to appreciate and love the often-overlooked bridge itself. For the past three years I have come to know the Bay Bridge intimately. I have climbed up, crawled under, and hung off the side of this significant structure. I’ve also been busted for breaking a few traffic laws along the way.

IMPOSSIBLE LIGHT explores what we as human beings are capable of when obstacles seem insurmountable. It’s about the human spirit of collaboration and finding a way to make the impossible possible.

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CAST & CREW BIOS

DIRECTOR/ WRITER/PRODUCER/CO-EXECUTIVE PRODUCER/EDITOR

– Jeremy Ambers

Jeremy Ambers is a video editor by trade and a filmmaker by passion. He graduated from SUNY Oswego in 2000 and spent much of his early adult life working for a small production company in midtown Manhattan. In 2009, Jeremy married the love of his life and moved across the country to San Francisco. While trying to build a steady flow of freelance editing work, his wife encouraged him to pursue his lifelong goal of becoming a filmmaker.

In 2011, he bought a Panasonic HVX-200A and a questionable wireless lavelier mic and caught the very early musings of lighting the Bay Bridge by complete coincidence. Jeremy spent three years obsessing over the bridge, Leo Villareal and the iconic sculpture now known as The Bay Lights, capturing its beauty and inspiration. The result of his endless dedication can be seen in his first feature length documentary film: IMPOSSIBLE LIGHT.

 

ARTIST / SUBJECT OF IMPOSSIBLE LIGHT – Leo Villareal 

Leo Villareal received a BA in sculpture from Yale University in 1990, and a graduate degree from NYU Tisch School of the Arts, Interactive Telecommunications Program. Recent exhibitions include, a survey show organized by the San Jose Museum of Art, San Jose, CA, which continues to tour several museums in the United States.  

He has completed many site specific works including, Radiant Pathways, Rice University in Houston, Texas; Mulitverse, The National Gallery of Art, Washington DC; Diagonal Grid, Borusan Center for Culture and Arts, Istanbul, Turkey; Stars, The Brooklyn Academy of Music, Brooklyn, New York, and the recently installed Hive, for the Metropolitan Transportation Authority at the Bleecker Street subway station in Manhattan. Villareal is a focal point of the James Corner Field Operations design team that will renew Chicago’s Navy Pier, and commissioned installations at Cornell University, Ithaca, New York, and The Durst Organization in New York City, will be in visible public spaces.  Villareal’s work is in the permanent collections of many museums including the  Albright-Knox Art Gallery, Buffalo, NY; The Museum of Modern Art, New York, NY;  Naoshima Contemporary Art Museum, Kagawa, Japan;  Nerman Museum of Contemporary Art, Overland Park, KS, and the National Gallery of Art, Washington, D.C.

 

SUBJECT OF IMPOSSIBLE LIGHT – Ben Davis 

Ben Davis is the visionary behind THE BAY LIGHTS and the creator of Pi In The Sky. He is founder and CEO of Illuminate the Arts, the non-profit that aims to alter the arc of human history through the creation of transformative works of public art. He is currently championing major art installations in San Francisco and beyond.

MORE INFORMATION ABOUT ‘IMPOSSIBLE LIGHT’

Official Website: www.impossiblelightfilm.com

Facebook: www.facebook.com/impossiblelight

Twitter: @baylightsfilm #findaway

Upcoming Screenings:

October, 2014

Theatrical Screening Events:

  • AMC Clifton Commons, Clifton, NJ (October 27, 2014)
  • AMC Loews Shore 8, Huntington, NY (October 29, 2014)

November, 2014

SF Urban Film Festival, San Francisco, CA (November 7, 2014)

  • Opening Night Feature-Length Film

November, 2014

Special Screening

  • San Francisco Public Library, San Francisco, CA (November 13, 2014)

November, 2014

Napa Valley Film Festival, St. Helena, CA (November 14, 2014)

 

* For a full list of upcoming screenings, visit www.impossiblelightfilm.com/events

 

 

 

Turnkey vs Plug-n-Play

In my recent article about a new Burning Man director’s involvement in a million dollar plug-n-play camp, I commented on Disorient, giving them praise for the way their camp seems to operate like clockwork. Just like I did in March 2012, when I first started covering plug-n-play.

It seems that Burners can survive life in the harsh desert for a week, tripping over re-bar and Darkwads. They can survive Playa lung and Playa foot, sun burn and wind burn and sinking into the mud. They can line up in queues for hours, party for days on end and still not be offended by ugly people shirtcocking. But use an ambiguous word in describing their camp? Oh my god! “WE DEMAND A RETRACTION!”

Here’s what I said:

Leo Villareal is the founder of Disorient, who certainly share a great deal with Burners. They also have one of the most impressive turnkey operations I’ve seen on the Playa. They are turnkey in the sense that there are meals and regular RV services available, and members pay camp dues. It’s harder to argue that they are the ghastly “plug and play”, where sparkle ponies show up but don’t participate adequately. Everyone who camps there has to do volunteer shifts, such as being a Greeter. It ain’t cheap, but it ain’t in the stratosphere either. From what I hear, their budget is pretty reasonable for such a large camp with so many amenities

 Deb said:

I camp at disorient for years, where did you gain your informatio?n,.. You should have checked your sources, disorient is NOT a plug n play by any means. What a fucking slap to all of us here who contribute to the building, alpha team, disengage, LNT, love ministry, .. We ALL wash dishes, we all take shifts at disorient, who the hell do you think builds our camp? We do, all of us, AND we do a greeters shift, AND we have teams of art cars AND DJs, we do it all ourselves. Retract that now please , because that’s a fucking lie!

burnersxxx: I never said Disorient was a plug and play camp. Turnkey was the word I used. Surely you admit that you pay camp dues, have meals provided, private as well as public camp areas, RV services, private bathrooms? Disorient contributes plenty, and if you read the post you will see I pointed out that everyone who stays there has to do volunteer shifts.

Deb:

So, any camp where your camp dues pays for your food, portable potties and shower and biodiesel for campers and rvs is considered “turnkey “? That’s pretty fucking hilarious , I invite you over to our lovely ” turnkey” camp , hahaha, yeah, all I had to do was show up, hahahahaha, hahahaha, sorry, having a hard time breaThing here, hahahaha,..

 burnersxxx:

“where do you draw the line” is a good question. Is it Sherpas that make it turnkey (vs plug-n-play)? Chefs? Private bathrooms? Showers? Pre-arranged RV services? Or is it all about having the Segways and bicycles ready?
Disorient is a big camp with a six figure budget, and people who arrive early and stay late setting up and tearing down. Are any of those people paid for their time? Regardless, it’s hardly a small group of friends putting their tents up next to each other. I can’t see where you think this article is being critical of Disorient. The point of this article is not “plug and play camps are ruining Burning Man”. It’s “Burning Man’s new director is promoting a million dollar camp with the names of artists he didn’t get permission from”.

Tejawe:

I think the issue here was simply the terminology of “turnkey” vs. “plug-n-play”. DISORIENT is certainly not a plug-n-play camp, but if some come away with the impression that our operations are turnkey, I’ll happily take that as a compliment! It’s due to the incredible hard work, creativity, and dedication of hundreds of active burners, honing the camp over 14 years to continually improve how we set up, maintain, and break down our infrastructure, how we conceive of and produce our art projects, how we welcome new burners into our camp and the community as a whole, and how we interact and give back – on playa and year-round. Everyone at DISORIENT participates in the working aspects of the camp, and anyone who doesn’t is politely encouraged to camp elsewhere the next year… In 2014, we were as large as we’ve ever been, yet the camp felt tighter and brighter than ever.

On the topic of Plug-n-Plays, I’m not a fan. In a nutshell, I think they contribute more to the “mainstream-ization” of the playa than the “burnification” of the default world. And _that_ is a bad thing.

burnersxxx:

thanks Tejawe, it was meant as a compliment. Disorient got their shit tight!

Bacchus said:

bacchus cartoon“Turnkey” just isn’t a compliment in terms of what Dis0rient is all about, and it isn’t accurate. Burnersxxx was (uncharacteristically) sloppy in his word choice, whether intending to be compliment or a slight…. A handful of people in a camp of a couple hundred plus, go that route, and usually aren’t allowed to do that for more than one time. We bring our own “drive trains”, we are our own “owners”, we are not just handed keys to a functioning business, or sold a pre-packaged experience. It is wrong, and conflates different problems with a lot of hard fought, well thought out solutions to various challenges. Here’s Wikipedia on turnkey. Burnersxxx, we await your retraction, and rethinking of the epitaph …

“A turnkey project or contract as described by Duncan Wallace (1984) is:[citation needed]

“…. a contract where the essential design emanates from, or is supplied by, the Contractor and not the owner, so that the legal responsibility for the design, suitability and performance of the work after completion will be made to rest … with the contractor …. ‘Turnkey’ is treated as merely signifying the design responsibility as the contractor’s.”

Common usage

Turnkey refers to something that is ready for immediate use, generally used in the sale or supply of goods or services. 

…Burnersxxx and anyone who has really looked at Disorient or spent time their knows (or should know) better. I think you owe DisOrient a retraction/-apology. We are NOT “turn-key”–never. We work shifts, build our shit, break it down, and everyone pretty much pays our modest dues, except for a few who work extra hard or contribute a lot more in effort than the cost of dues… There may be an rv or three delivered to the playa, but turn-key implies fully stocked, unlocked and loaded when you arrive with your key you simply turn. Ain’t Got No Sherpas.

It seems like by the definition Bacchus has chosen to use, turnkey is where someone else designs and sets up the camp. Camp members pay their dues, show up and get allocated a spot that’s been reserved for them, and enjoy the facilities brought and erected by others. Campers are different from owners, or designers. Just because you paid the dues, doesn’t mean you’re involved in the design, or responsible for the camp as a whole if a disaster happens.

Here are some simpler definitions, from Urban Dictionary:

– Something that is finished and ready to go

– Work left to a competent source to complete, ready to go when needed.

And from Google:

– involving the provision of a complete product or service that is ready for immediate use.

I apologize to friends and strangers in Disorient if my use of the word “turnkey” to describe their large, organized, big-budget camp, hurt their feelings. I thought “plug-n-play” was the bad term, I didn’t know “turnkey” was also a bad term. I grew up in the military and have spent my career in business; in both worlds, a “turnkey operation” is considered as high praise indeed.

Perhaps there is another word that is more appropriate to use?

Here are the elements of Disorient that I consider combine to make camping there different enough from pure self-reliance, that their should be some sort of word to differentiate it from plug-n-play:

Elements of a Turn-key [or, Word X] Camp:

– dues cost nearly as much as tickets

– camp budget above $50,000

– someone else cooks your meals

– private bathrooms and showers

– people with early access passes get there to set up, so you can arrive when much of it is built

– you can leave the camp before it has all been packed up

– some of the workers in the camp get paid

– generators are available to plug into and someone else takes care of running them

– RV service regularly comes to the camp

– you can fly in and meet your RV on the Playa

– if you need extra tickets the camp will be able to find them

– use of an art car you didn’t build

Not every camp has all of those elements. If it does – like Disorient – is it turnkey?

I’m not sure what their prices were this year, but this is from 2012:

Our camp utilizes dues to help meet our budget, including dinners, porta potties, showers, sound, art, epicness, and a communal water tank

Our camp dues are:
– tier one – $275.00 per camper through July 22
– tier two – $325.00 through July 29
– tier three – $375.00 through August 06
– overdue – $425.00 after August 06 (this goes up sharply because registering late creates a lot of extra work for our registration team!)

  – $50 rebate for campers working on Disengage through 8pm on Sunday, Sept. 2.
  – additional $50 rebate for campers working on Disengage through 8pm on Mon., Sept. 3.
  – additional $50 rebate for campers working on Disengage through 8pm on Tue., Sept. 4.
  – additional $50 rebate for campers working on Disengage through the end on Wed., Sept. 5.

If your application is approved on a tier deadline, you will be given a seven day grace period to make the dues payment at the lower dues level.

RV campers: Please note that there will be an additional required fee of $725 per RV.This pays for the RV to be serviced with fresh potable water and pumped (grey/black water waste) every other day connection to our bio diesel generator grid. (Use of on board generators is not allowed because of the exhaust they produce.)

It’s pretty clear that the whole camp doesn’t stay to break it down and completely de-MOOP, since they have to pay $200 to incentivize people to do that. The fact that the payment occurs in the form of a rebate is a nice touch, but it is what it is. Clearly, the option to pay more and clean up less is available.

farnsworth-umbrella-holderPersonally, I don’t see anything wrong with these elements. I’m not hating on camps that do this, Hell, I’m not even hating on plug-n-play camps. And I never have been. I’ve been telling you they exist for years, and saying that I think Burners should direct their ire towards BMOrg, not their fellow Burners. I care as much about P.Diddy’s sherpa as I did about his umbrella holder: ie., zero. Whether or not someone had a sherpa does not change my Burn in any way. It’s bizarre that people define their own happiness by the actions of others. To each their own – what are you bringing to the party to share with everyone else?

There is no doubt in my mind that Disorienters work volunteer shifts, and I commended them for that in my original article. Likewise, Disorient itself is a gift to the Playa. I have been praising their logistical and operational abilities in this blog since early 2012 when we first started talking about Plug-n-Play, holding them up as the example that other camps should be like. There is nothing in my article that is criticizing Disorient in any way, but some of them see my words as the compliment they were intended as; and some are butt-hurt.

Sorry I ever called Disorient a turnkey operation.

I throw it over to you for suggestions, readers. What sort of word should we use to describe camps where guests pay fees and enjoy private showers and meals cooked for them, and pay others to stay and pack up…if we want to differentiate them from “plug-n-play”? Is it just “camps”?

 

Cool Hunting Interviews Leo Villareal

leo and yvonneLeo Villareal is one of the founders of the Disorient major theme camp. He is also the first Burning Man artist to have an exhibition of their works at a major museum – in 2010, at the San Jose Museum of Art. The Disorient crew sure knows how to throw a party! Michael Slenske at Cool Hunting has just published a great interview with Leo, in which he talks about Burning Man and the Bay Lights – the largest electronic art installation in world history.

From Coolhunting.com:
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Two decades ago, New York-based light sculptor Leo Villareal attended Burning Man (the annual week-long art event in Black Rock City, Nevada, which culminates around a wooden sculpture of a man set on fire) and the experience changed his life. A few years later Villareal returned to the Nevada desert with a 16-strobe light beacon of his own design, which he fixed to the roof of his group’s RV so that they could find their way home. “I was tired of getting lost, so I made my first piece which was sort of just a utilitarian thing to help me stay oriented. But then I thought, ‘Wow, that’s a very powerful combination: software and light,’” recalls Villareal, who brought the work home to NYC, laid a translucent cover over the top and had just produced his first gallery-worthy light sculpture, “Strobe Matrix.”

Villareal spent the next 10 years broadening the scope of his work with increasingly larger, more technically complicated architectural interventions. Many were commissioned as temporary works, and many have ended up being permanent or semi-permanent. To wit: six years after it was installed, the 41,000 LED, three-years-in-the-making “Multiverse” still envelops the 200 foot-long walkway between the east and west buildings of the National Gallery of Art in Washington DC. The artist’s “Stars” remains in the windows of the Brooklyn Academy of Music years after it was scheduled for de-installation; the Buckminster Fuller-inspired “Buckyball” that lit up NYC’s Madison Square Park in 2012 is currently being shown outside Alice Walton’s Crystal Bridges Museum of Art in Bentonville, Arkansas, where it is now part of the institution’s permanent collection. The 25,000 algorithmically-controlled LED lights that make up “The Bay Lights,” which just marked its one-year anniversary, continues to illuminate the night sky across the Bay Area, and may continue to for another decade or so.

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The latter—likely the most technologically challenging public art installation ever—is also the subject of a new documentary, “Impossible Light.” The film premiered at SXSW and details the project’s numerous challenges: raising $8 million in private funding over two years, overcoming epic industrial, national security and environmental concerns not to mention finding the right people to get behind the project (from local engineers to public art éminence grise Christo, who wrote letters of endorsement on Villareal’s behalf). On the heels of the film’s premiere and the installation’s anniversary, Villareal checked in from D.—where he was taking some time to absorb the ambient glow of “Multiverse”—to talk about his trajectory from Burner to Bay Area icon, what technology means to his work and what’s next.

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So it was just the one-year anniversary of “The Bay Lights.”

Yeah, on 5 March.

If you look back at that strobe light piece you did for Burning Man, could you ever have imagined this kind of trajectory for your work?

Absolutely not. The first year I went to Burning Man was 1994, and I made the strobe piece in ’97. That got me going and then over time I did my first large-scale architectural piece in 2003 at MoMA PS1 in Long Island City, and it just went incrementally from there. But I never thought I’d do anything like “The Bay Lights.” It’s cool what you can do with light.

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Were you ever interested in the pioneers of California’s Light and Space movement? Was that something you were thinking about?

I had an art history background, and my family is from Marfa, Texas, so I certainly knew about Donald Judd and Dan Flavin and [James] Turrell. But I studied sculpture and then I got into technology in the early ’90s and I wasn’t quite sure how I was going to fuse all these new tools I was using into my art-making practice. That’s what happened in ’97 [with “Strobe Matrix”], and I realized this is very powerful and this is what I want to pursue. But I would say it was definitely a combination of the Light and Space guys, plus Burning Man, plus technology being in the right place at the right time over and over.

How has your work evolved as technology has advanced?

Certainly I would not be able to do the work I do without LED technology. Solid-state lighting is remarkable in its robustness and in how energy efficient it is. I’m also very involved in creating my own LED circuit boards and control systems and all the software I use is custom-written. I’m working with my programmers—I only go so deep myself—but at the end of the day I’m using the tools that have been custom-made for me, and then I’m very involved in the sequence-making. But I’m all for innovation and I wish it would go faster. I’m really excited for LEDs that last a million hours instead of just 100,000 hours.

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What’s your process like when creating public installations?

I’m there to capture that 1% of the time when something exciting happens and I can bring that back—something I’ve harvested—and then I can continue to layer and evolve it. It is a very painterly process, it’s very compositional, very similar to the way you’d compose music. There are certain motifs that repeat at different scales at different tempos. There’s background layers and foreground layers and layers that subtract light, so you’re dealing with negative space.

Since “The Bay Lights” went up, have you been inundated with projects of that scale?

It’s been unbelievable. We’ve had over half-a-billion media impressions and that was several months ago. The story went from local to national to international and it’s inspired huge amounts of interest in my work and for doing monumental public art. I think what’s exciting is that with “The Bay Lights,” it’s not only a piece of art 50 million people will see in two years, but it’s also good for the city. It’s bringing in, conservatively, $100 million to San Francisco in restaurants and hotels.

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Are you involved in the campaign to keep “The Bay Lights” running through 2026?

Yes, we just announced that on 5 March. It’s really about the people of San Francisco. They’ve really fallen in love with the artwork and they want it to remain, which is great. But like I said in the film, this is something that needs to come from the public, not the artist saying, ‘My piece has to be permanent or here for [another] 10 years.’ I just feel honored to have had it up for this long. I’m okay with temporary art; that’s how it is on [Burning Man venue] the Playa, you have to let it come and go. But if something can become iconic and part of the city, of course I’m thrilled to participate in that.

When you walk through cities, do you see the possibilities in the architecture?

Definitely. Over the years my ability to create 3D simulations and visualizations has evolved, which is very important in my work and a lot of projects start like that: showing people what it could look like. That’s how “The Bay Lights” started, with a one-minute animation showing people what it could be.

Is there a new space you’d really love to explore?

I want to get out in nature. There’s some test pieces out in spaces in Texas. Places like Marfa, I think would be very exciting to explore. That’s going in a whole other direction.

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Are there any new items on the tech front you’re thinking about the way you might have thought about LEDs years ago?

The control of LEDs used to be very, very expensive. Now you can buy this stuff on a roll from China and, for a couple hundred bucks, you can be sequencing LEDs, which was never possible before. I would like for there to be more really revolutionary innovations in light, but I still think there’s a lot left to do with LED.

What other new projects are you working on at the moment?

I’ve been focusing more on gallery shows and museums. I’m doing some different group shows, one called “The Light Show,” which is traveling to New Zealand and Australia. I’m currently in the Cartagena Biennial. We’re going to be showing “Buckyball” sometime this year; we’re making a scale model of it.

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So this is the indoor version of the outdoor work?

Yeah, it’s about a three-foot diameter sphere on the outside and then another sphere within that. I’m all about making smaller pieces and learning at different scales. I’m just really regrouping. Two-and-a-half years working on the Bay Lights was pretty consuming. I just moved studios and have a new studio out in Brooklyn in Industry City.MakerBot is out there.

Is the new studio helping out with the work?

I can think straight with having enough space. I was in the same studio for 15 years in Chelsea, right in the middle of the art world and that was great but it’s just a lot of noise. Going to a place where I can think and work is very important. That’s what the new studio is about. For me it’s really about assessing where I’m at and figuring out the next moves. But it’s definitely an exciting time.

“Buckyball” images courtesy of Leo Villareal Studio, “The Bay Lights” images and “Double Scramble” image courtesy of James Ewing, “Impossible Light” images courtesy of Jeremy Ambers