About the Naima Trailer Project

     The Naima Trailer is a chamber of purple light and glass hidden inside a rusted trailer.  It is large enough for 2 people to sit inside. Hundreds of handmade cast glass objects collect light from the sky. Lit solely by light from the sky, the interior changes as light shifts throughout the day, sunrise to sunset.   

      Naima was exhibited at High Desert Test Sites 2013, an exhibition curated by Dave Hickey, Andrea Zittel, Libby Lumpkin, and Aurora Tang. Artists' projects were sited in the desert along the I-40 from Los Angeles, CA. to Albuquerque, NM.  For High Desert Test Sites the Naima Trailer was sited at the center of a dry lake bed in the Mojave Desert near Joshua Tree, CA. 

     There is no electric light in Naima.  Light comes from the sky via large hidden recessed skylights that span the entirety of the trailer’s roof, effectively turning the trailer into a large light box. Purple glass and purple light entirely surround you, as if you had walked into a giant geode, or discovered an amethyst crystal cave. The glass chamber changes as light shifts throughout the day, or as clouds move across the sky.

     I cast the glass for Naima in my studio in Taos, New Mexico.  Because each mold is destroyed in the firing process, each of the hundreds of pieces is unique, there are no multiples.

      I use glass and this labor intensive process to access light in my work.  Glass catches light in extraordinary ways.  It acts a strong collector and amplifier of light, allowing light collection in my work even under low light conditions like twilight. 

     In a world saturated with information, much of it speeding at us disembodied through cyberspace, I am interested in the corporeal experience of light, space, and color— in creating experiences that require the physical presence of the viewer.  I am particularly interested in inviting the physical presence of the viewer over time, and in how the language of light and color communicate through channels outside the language of words.

Debbie Long 2014



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