Spencer Finch, ‘Sunlight In An Empty Room (Emily Dickinson's Bedroom)’, 2010, Maharam
Spencer Finch, ‘Sunlight In An Empty Room (Emily Dickinson's Bedroom)’, 2010, Maharam

Using time-lapse photography, Sunlight in an Empty Room (Emily Dickinson's Bedroom) documents the daylong path of sunlight as it traveled across the bedroom where Emily Dickinson lived her entire life, much of it in seclusion. Equally invested in the phenomenal and the psychological, Spencer Finch finds a touchstone in Dickinson, whose poetry is a testament to the mind's ability to create an internal world far more vast than the external one.

About Spencer Finch

Spencer Finch uses a diverse range of mediums to investigate the ways in which history, memory, and sensory perception conflate and mutually influence. Working in painting, photography, and installation, Finch is best known for producing large-scale sculptural installations that filter or transform natural light or create synthetic light effects. Finch attempts to recreate his impressions of natural phenomena and landscapes, leaving his materials visible so that the constructs underlying his optical illusions are laid bare—as in Sunset (Over the Atlantic), (2004), a curving space installed with glass, tiles, and tubes of fluorescent light. “There is always a paradox inherent in vision, an impossible desire to see yourself seeing,” Finch has said. “A lot of my work probes this tension; to want to see, but not being able to.” Finch observes, documents, and studies with scientific precision (often using a colorimeter) the color and light effects of specific locations, much in the manner of Impressionist Claude Monet, whom he considers a major influence on his work.

American, b. 1962, New Haven, Connecticut, based in Brooklyn, New York

Exhibition Highlights On Artsy

Spencer Finch: The Western Mystery, Seattle Art Museum, Seattle
Spencer Finch: Lost Man Creek, Public Art Fund, Brooklyn