Interior Work

During Godley’s InFlight exhibition in Cologne, it was discovered that these light installations had an unexpected effect on the viewers. Throughout the month long exhibit, people would come into the gallery and stay for hours. They didn’t want to talk to the curator, or hear about the artist, they just wanted to sit and look. Many returned multiple times to the exhibit, again quietly just “being” with the light installations.


This is not a typical reaction to artwork. Godley spent the next two years researching evidence to support the findings of this calming effect her work had on viewers. The answers were found in a combination of the imagery and the wavelength of light used in the work. To read more into the exploration of these fascinating results that has continued to fuel Godley’s work with fiber optics, please click here for our research.


All of the following works are composed of charcoal or pastel on digital prints, threaded with hundreds of fiber optics to create drawings with illuminated pixelation.  The directional nature of the fibers create a shift in the intensity of the illumination as the viewer moves across the image. All fiber optics are lit with LEDs and powered by 9 volt adapters.




Enveloped uses micro-computers to create a slowly shifting effect of the multiple overlaying slow-motion still shots of a swan’s wings opening and closing in a majestic large scale performance of light and sound.


Behind the Veil


The “Behind the Veil” series merges digital printing with pastels, fiber optics and micro-computing, creating layered imagery that explore themes of observation both by and of the viewer. Using the same light wavelengths and imagery used in light and arts therapy, these pieces calm and provoke.


Godley utilized the calming effect of imagery from nature to draw in the viewer, but as you sit with the work there is more to discover than what is on the surface.


Water Wall


Water Wall is composed of 24 individual 20” x 27” digital print/charcoal drawings with embedded fiber optic lighting. It was sponsored by a Professional Development Grant from Philadelphia University.  Just under 80,000 feet of fiber optics were used.


All of the images were taken in waters outside the Bermuda coast, then digitally enhanced and printed on heavy water color paper. The swirling sea-foam patterns, tiling of images, and embedded lights create a dynamic spatial experience.




In Flight is composed of 75 individual 20″ x 20″ digital print/charcoal drawings embedded with fiber optic lighting.  It was sponsored by curator Linde Trottenberg of MultiArt International. This was the inaugural exhibit for the opening of Gallery Art68 in Cologne, Germany.


InFlight, Lyn Godley Design Studio Installation, H80" x W180"

InFlight, Gallery: Art 68, Cologne, Germany, H112" x W342"



“Dew-mi o’my” is a series of prints that were taken from digital photographs of the original fiber optic drawing “Rose-arey,” reformatted, digitally printed on watercolor paper, redrawn upon in charcoal and pastel and then threaded with fiber optics. Attaining the same depth as in the “Garden Wall” pieces, and more abstracted as an installation than in the singular “Rose-arey,” this work creates an overall design that allows for a flow of both line and light across the gallery wall.


“Garden Wall” was a series of prints that were sections of the original fiber optic drawings digitally photographed and printed on heavy watercolor paper, and then redrawn upon with charcoal and pastels. This creates a spatial depth that is rich in the diversity between technology and the hand; the grainy texture of the digitized print of the original drawing married to crisp lines of hand markings layered on the surface.


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