The Aurora

The Aurora by Jen Lewin
The Aurora by Jen Lewin

The Aurora – 2021

Client: Metropolitan Airports Commission (MAC) and the Airport Foundation MSP
Location

An interactive experience that changes color with the weather, and animates based on your motions below

Existing at the intersection of art and technology, THE AURORA is a 29-foot-tall, 720-pound experiential sculpture in which both human interaction and weather factors create swirling patterns of color and light. The title of Lewin’s work references the Aurora Borealis, or Northern Lights—naturally occurring light phenomena that are visible in the northern sky during fall and winter months. Inspired by the beauty and complexity of these organic light forms, Lewin programmed her work to change color based on the weather in Minneapolis. Below THE AURORA are eight platforms that respond to touch, encouraging visitors to actively participate in an ever-changing composition. Uniting nature, humanity, and technology, Lewin’s work underscores the dynamic interactions between people and environment.

THE AURORA features hundreds of color palettes with over 10,000 interactive LEDs that are programmed to reflect the seasons and live weather conditions in Minneapolis. The artwork consists of 23,000 aluminum rings formed into a wispy, honeycomb-like structure that evokes the solar wind patterns that create the Aurora Borealis in real life. 2,667 hand-blown glass bulbs are attached to the structure, each with three light-emitting diodes inside.

THE AURORA was completed in 2021 and was jointly commissioned by the Metropolitan Airports Commission (MAC) and the Airport Foundation MSP. A 16-member Blue Ribbon Artist Selection Panel chose Lewin for the project because of her extensive experience creating new media and interactive sculptures for public use and enjoyment.


The Last Ocean

The Last Ocean by Jen Lewin 2022
The Last Ocean by Jen Lewin 2022

The Last Ocean: 2022

In 2022, The Last Ocean made its debut at Burning Man’s Black Rock City. This remarkable installation delves into the urgent issue of plastic pollution in our oceans, a warming planet, the depletion of natural resources, and the pressing need for transformative systemic change.

Comprised of traveling, temporary interactive platforms that span a vast landscape, the installation is brought to life by community engagement. Crafted from reclaimed ocean plastic, The Last Ocean creates an otherworldly ice field that mimics the geometric tessellations of Antarctica’s glaciers.

Throughout the day, the interactive platforms showcase the metamorphosis of reclaimed ocean plastic. And as night falls, The Last Ocean illuminates in a spectacular array of vibrant interactive light, captivating viewers with its stunning beauty and powerful message.

The Last Ocean Process and Inspiration:

Ten years ago, I conceptualized a new interactive sculpture called The Last Ocean. John Weller’s photographs and urgent ideas to preserve Antarctica’s Ross Sea directly inspired my vision for the sculpture.

Since inception, it has taken my small team and I nearly a decade to figure out how to build The Last Ocean authentically. We have actively worked to design, invent, engineer and fabricate the artwork entirely out of collected and reclaimed Ocean Plastic Trash. This process has required reinventing aspects of my art practice while pushing the boundary of plastic manufacturing.

After such a long journey, we are excited to announce  THE LAST OCEAN:  an expansive landscape of interactive platforms created from reclaimed ocean plastic, evocative of a luminescent ice field composed of beautiful geometric tessellations. The Last Ocean not only seeks to inspire and educate, but also – through the use of reclaimed ocean plastic – to impact the recovery of our oceans and our planet.

Rethinking Public Art

The Last Ocean redefines public artwork as an interactive landscape. Our hope is that this work will inspire and educate but also – through the use of reclaimed ocean plastic – encourage the recovery of our oceans and our planet.
“We estimate that at least 5.25 trillion plastic particles weighing 268,940 tons are currently floating at sea.” Eriksen M, Lebreton, et al.

Ultimately, we believe that humans need to put an end to the appalling levels of single- or limited-use plastic production. However with hundreds of thousands of tons of plastic already in the ocean, we knew it was important to attack the problem on multiple fronts.

Transforming Communities

To make this work possible Jen Lewin Studio has closely collaborated with Ocean Plastic Technologies (OPT), in South Africa. OPT and Jen Lewin Studio are re-engineering the circular plastic economy by finding new ways to recycle and repurpose ocean-bound plastic pollution. The Last Ocean is handmade from collected ocean and ocean-bound plastic trash collected from coastal communities, ground down and melted to create the artwork.

A small portion of the plastic collected by Jen Lewin Studio and Ocean Plastic Technologies. Over 10,912 pounds of plastic, 9,268 pounds of glass fiber and composite was collected to create The Last Ocean.

Pioneering New Technology

Creation of The Last Ocean has been a multi year journey requiring that our studio entirely re-think our own fabrication processes. We hope that this hands-on exploration can inspire other artists, designers, fabricators, and plastic manufacturers to reconsider their own direct role in protection and conservation of our planet.

“There is no such thing as ‘away’. When we throw anything away, it must go somewhere.” – Annie Leonard

From the kitchen table of Marjorie Rice

The Last Ocean’s shape and form is directly inspired by the Type 9 pentagonal tiling discovered by artist and mathematician Marjorie Rice. At the time of her discovery there were only 9 known pentagonal tilings discovered by mathematicians Karl Reinhardt, R. B. Kershner, and Richard James between 1918-1975.

Marjorie Rice, Tessellation 9 Pentagon, Last Ocean by Jen Lewin

In 1976, with no training in geometry beyond a general math course in highschool, the 52 year old Californian homemaker discovered 4 pentagonal tilings over the course of 2 years, after reading a puzzle column on the tessellations in the Scientific American Magazine. Employing an elaborate symbolic system and hand-sketched studies, RIce worked on her investigations discovering these four new tessellating convex pentagons and nearly 60 additional never before seen tessellations, all in the spare moments she had alone at home when her husband and 5 children were at work and school.

Since her discoveries, there was one pentagonal tiling discovered in 1985 by Rolf Stein and the last pentagonal tiling was discovered in 2015 using computer algorithms (Mann/McLoud/Von Derau). To date there are only 15 total pentagonal tilings of the plane, confirmed complete in 2017 by Michaël Rao. But for the initial discovery by Karl Reinhardt, Marjorie Rice’s pentagons make up the largest set of these tilings. The interactive platforms used to create The Last Ocean will be in the shape of Rices Pentagonal Tiling “Type #9”.

Pentagonal Tessellation Types

Grants, Awards & exhibits

GRANTS & AWARDS
2022 Black Rock City Honorarium

EXHIBITIONS
2023 Vivid Syndey – The Last Ocean, “Antarctica”
2022 Black Rock City, Burning Man
2022 Detroit Design Week, The Last Ocean at Beacon Park
2022 Canal Convergence, The Last Ocean “Brunt Shelf”
2022 San Francisco Exploratorium, The Last Ocean Iceberg 74 and Brunt Ice Shelf


Edison Drops


EDISON DROPS, 2021-Present

Interactive motion-sensing sculptures that ripple light as participants move underneath the work

The Edison Drops are the newest work in Jen Lewin’s Edison series, a group of works that merge contemporary LED technology and interactivity with the historical incandescent lightbulb invented by Thomas Edison. In 2012, Edison bulbs ceased to be produced in the USA, prompting Lewin to begin this series using hand-blown glass bulbs custom designed to use LED light. Evoking ripples in water, the Edison Drops are a cluster of three orbs that utilize low-voltage lasers that bounce from the sculpture to the ground, sensing the distance between people below and the work. As the participant moves beneath them, they can effectively shoot ripples of light upward into the work, depending on how close they get to the sensor. The Edison Drops are created using an aluminum framework of rings, which is shaped by the original mold used to create The Pool (2008), a work that was developed specifically with Burning Man in mind.


JLS-Final Template – No slideshow, stacked images, Text ON Left

The Aurora – 2021

Existing at the intersection of art and technology, The Aurora is a 29-foot-tall, 720-pound experiential sculpture in which both human interaction and weather factors create swirling patterns of color and light. The title of Lewin’s work references the Aurora Borealis, or Northern Lights—naturally occurring light phenomena that are visible in the northern sky during fall and winter months. Inspired by the beauty and complexity of these organic light forms, Lewin programmed her work to change color based on the weather in Minneapolis. Below The Aurora are eight platforms that respond to touch, encouraging visitors to actively participate in an ever-changing composition. Uniting nature, humanity, and technology, Lewin’s work underscores the dynamic interactions between people and environment.

The Aurora was completed in 2021 and was jointly commissioned by the Metropolitan Airports Commission (MAC) and the Airport Foundation MSP. A 16-member Blue Ribbon Artist Selection Panel chose Lewin for the project because of her extensive experience creating new media and interactive sculptures for public use and enjoyment.


JLS-Final Template – No slideshow, stacked images, Text ON Right

The Aurora – 2021

Existing at the intersection of art and technology, The Aurora is a 29-foot-tall, 720-pound experiential sculpture in which both human interaction and weather factors create swirling patterns of color and light. The title of Lewin’s work references the Aurora Borealis, or Northern Lights—naturally occurring light phenomena that are visible in the northern sky during fall and winter months. Inspired by the beauty and complexity of these organic light forms, Lewin programmed her work to change color based on the weather in Minneapolis. Below The Aurora are eight platforms that respond to touch, encouraging visitors to actively participate in an ever-changing composition. Uniting nature, humanity, and technology, Lewin’s work underscores the dynamic interactions between people and environment.

The Aurora was completed in 2021 and was jointly commissioned by the Metropolitan Airports Commission (MAC) and the Airport Foundation MSP. A 16-member Blue Ribbon Artist Selection Panel chose Lewin for the project because of her extensive experience creating new media and interactive sculptures for public use and enjoyment.


© Copyright Jen Lewin Studio, all rights reserved.    

© Copyright Jen Lewin Studio, all rights reserved.