Experiencing shadow and form in Anthony McCall’s sculptural projections

Anthony McCall’s current exhibition Solid Light at Tate Modern in London offers a compelling survey of the artist’s groundbreaking work with light installations, tracing a unique journey that spans several decades. McCall, a British artist based in New York, is renowned for his innovative approach to light, space and time, creating what he calls "solid light sculptures". Beginning in the early 1970s, his practice has explored the interplay among film, performance and geometric forms, pushing the boundaries of how we perceive and interact with art.

McCall's early career was shaped by his involvement with the experimental cinema movement in London. After studying graphic design and photography at Ravensbourne College of Art and Design, he became part of the London Film-Makers' Cooperative, where he began experimenting with performance and its documentation as a cinematic form. His seminal series Landscape of Fire (1972-73) exemplifies his work in this period. In an open field, McCall arranged a square grid of circular plates, igniting them with matchsticks. The resulting film, also titled Landscape of Fire (1972), on view at the start of the exhibition, documents McCall’s choreographed movements as he sets the grid alight, capturing the flames and the purple-tinted smoke that rises from the burning plates. This work marked the beginning of McCall’s exploration of how light, smoke and geometric structures can combine to create immersive, three-dimensional experiences.

In 1973, McCall moved to New York with performance artist Carolee Schneemann, immersing himself in the city's vibrant art scene. There, he was influenced by the works of Fluxus artists, the experimental films of Andy Warhol and the durational performances of Yoko Ono, among others. It was during this time that McCall created Line Describing a Cone (1973), his first light installation and one of the four light installations in the Tate Modern exhibition. This work represents a radical departure from traditional cinema. Using a film projector and 16mm film, McCall projects a thin beam of light onto a wall. Over the course of 30 minutes, the beam gradually forms a complete circle, creating a cone of light that extends from the projector through the space. This deceptively simple piece deconstructs film to its most basic components—light and time—while eliminating sound, screen and narrative. As the cone expands, it transforms the gallery space into an immersive environment, recalling the rigorous geometries of minimalist sculptors like Richard Serra and Sol LeWitt.

McCall's early experiments with light and smoke led to the development of his "solid light sculptures", where projections of light in a dark, haze-filled room create visible planes that define space. These installations engage the viewer’s physical presence, as the light interacts with particles in the air to form geometric shapes that seem almost tangible. In 1974, McCall created Cone of Variable Volume, an exploratory film that tested the concept of a circle whose volume changes by expanding and contracting at different speeds. McCall noted that the work appeared to be "breathing", marking a shift in his practice from purely conceptual work to something more organic and emotive.

However, McCall’s career took an unexpected turn in the late 1970s. During an exhibition at Lunds Konsthall in Sweden, his signature work Line Describing a Cone failed to create the desired planes of light due to the pristine quality of the air and the absence of particles and smoke. This failure deeply affected McCall, leading to a 20-year hiatus from artmaking and he turned his focus to his successful design and print studio in the 1980s and 1990s.

Driven by advances in technology, such as digital projectors and haze machines, which allowed him to explore new possibilities with his installations, McCall returned to making art in the late 1990s. On view in the exhibition is Doubling Back (2003), the first significant work made after his return. This piece uses two projectors to create interlocking curvilinear forms that the viewer can physically move through, pushing the immersive and interactive nature of his work. In Face to Face (2013), McCall takes this idea even further, using two projectors and screens and volumetric forms that interlock, allowing the viewer to see the "footprint" of the form they are within, emphasising the corporeal experience of stepping into the work.

McCall's early experiments with light and smoke led to the development of his "solid light sculptures", where projections of light in a dark, haze-filled room create visible planes that define space.

The exhibition at Tate Modern culminates with one of McCall’s most recent works, Split-Second (Mirror) (2018). This is perhaps his most visually complex work to date, using a mirror to interrupt a plane of light, creating a dynamic and shifting environment that challenges the viewer’s perception of space. McCall continues to push the boundaries of how we experience sculptural space using cinematic devices, creating environments that are both meditative and playful.

A pioneer in immersive installation art, McCall’s work transforms the gallery space into a playground of light, shadow and geometry. His installations evoke a sense of wonder and freedom, allowing audiences to explore the ever-changing patterns in a deeply personal way. His practice continues to evolve, offering new ways of experiencing the relationship between light, space and human perception.