I noticed that you were wearing the light to attest to the value and likeness of the product.
How did you come up with this idea?
Thank you, pimm.
I sat down with a friend of mine who was a solar engineer and he talked about the price of solar panels coming down, efficiency going up, and i said let's start really small and talk about the people who do not have access to energy.
We came up with this idea.
You put this outside in your garden, use it in your evening when you want to do your work a little longer.
The countries in which the little sun is currently available, that is also part of the value of the light.
It's not just a toy, is to change people's lives.
As we know, if you don't have clean and healthy light, you're probably using kerosene, which is very toxic and expensive.
Right now we are in eight sub-saharan african countries bringing it to the market.
We are leaving some of the prophet locally, -- leaving some of the profit locally.
The profit goes to delivering polite to african neighborhoods where there was also a local sales.
Street vendors, women's associations.
They are doing a great job of bringing the light out and making a little bit of profit from doing so.
You are an artist that not just plays with light that also plays with the perception that people have of the power of art, the actual experience.
You have described this is almost writing a wage into a difficult economic system.
-- driving a wedge into a difficult economic system.
I wonder if you could describe that.
Energy is abstract, right.
Affecting the climate is not as easy as one would think.
One of the things about making things tangible or something artists always work with.
Taking something relatively abstract and make it perceivable.
Here you have something if a child goes out in the day, been reading the bedtime story by night, that child is more likely when they grow what to make a decision based on noble energy -- renewable energy once they have to choose energy for the road life.
I think sometimes it has the ability to link thinking and doing or making something explicit.
Making something that's abstract and making it understandable.
As an artist, i find great satisfaction in showing ways of taking thinking and turning it into doing.
What has been the reception in places like her lynn, where you are based, and in europe -- what has been the reception in berlin, where you're based, and in europe?
We've been very successful.
We are using the language of what do we share, what is the same thing in the northern part of the world and the southern hemisphere.
Typically in the northern one, and the western one, and the southern hemisphere like roar africa.
Bowling which we are using and the perception has been based on sameness.
This is about having access to energy.
It's about having access to power.
It's something everybody wants.
It's not just africa.
Everybody wants to be a little more happy, have a beautiful design in your house come have something when your friends come over, they say, this is a cool thing, i want one too.
That way there is really not much difference between europe and rural africa.
I think that is kind of a business point that is very important to focus on, what do we share, instead of focusing on what's different.
Not only have you produced this light, but you have also produced light that comes through water, with waterfalls, changes in light.
Talk a little about some of your other projects.
I was lucky to seven years ago, or possibly six, in new york with collaboration with the city, this is a great project for me.
Waterfalls are more just -- more than just falling wonderful stuff when you look at it, you see how far way it is, which means it's also a way of measuring the space.
We know that you stand in front of a landscape and you say, oh, i wonder if that mountain is an hour or a day away.
Then you see the waterfall and relies, the water is falling very slow.
Now you see falling water, so it must be very high, it's a high mountain, it must be a day away.
A waterfall can indicate what is the space in front of you.
That is how i came to the waterfall and new york.
Giving this space back to the city.
These are the things i work with in my work.
I work architecturally, spatially with perception.
I work very much with the people, public space, what we can do in the street, what we can share, and what does "public" mean?
Is it just what is left when the private sector has taken the nice chunks?
It's the values of society.
I find that very rewarding when we are talking about our creativity.
What is creativity have to offer on streets, out of which this grew as well.
What can art do when it is
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