Bioluminary, 2016
25”x40”
acrylic and glitter on wood
JJ lures us into the depths of a cave, where locals have reported many strange sightings.
We invite you to jump in…
JJ McLuckie is a Chicago-based illustrator, cartoonist, muralist, and handpoke tattoo artist. They primarily self-publish queer body-horror comics and zines based on observing biological patterns, destigmatizing gender/sexuality, and visually communicating emotion.
Their vibrant paintings are often portraits of the enjoyment of melancholy and vulnerability; these form the nucleus of which the varying mediums used revolve around. Color theory, design, and stylistic collage are always at the forefront of their concepts and therefore are constantly shifting depending on what their most recent research happens to be.
JJ holds a BFA in Illustration from Columbia College Chicago.
Conversation with JJ:
How would you describe your installation and what do you want visitors to take away from your installation?
Bioluminary is a loop through simplified biomes based upon the light that penetrates each corresponding environment's elevation and canopy.
Beginning in the brightest white light looking onto an open island at the top of the stairs, the ramp splits the light rays up on one wall as you move down and along the mountainous coast on the opposite wall. At the lowest elevation, evening sun cuts through the forest leading into a sea-level grotto illuminated by bioluminescent fungi and toadstools to sit on and observe the way light interacts with color.
The purpose of the grotto is to be removed from the outside world and sit with the stillness and meditate on removing the linearity of time from the forefront of your mind. Upon walking out of the cave, light returns to white and the sky opens back up as you return to the origin.
When moved through in the opposite direction the lighting is intended to stimulate the eye dilation experienced by the morning sun or waking up from a midday dream. Every portion of our ecosystem is interconnected, and the fluid shapes representing it here move into each other just as the earth is constantly flowing into itself.
What was your experience with this exhibition and what were some of the challenges you faced?
Since I tend to help paint murals for other people more often than I do smaller paintings, it's always interesting to me to see what style of painting I end up doing since how I paint has shifted between each one. This screening room and ramp were always a dream mural space for me because of it how much it forces a viewer to move through it.
I personally liked having the long break between installation periods as it allowed me time to forget about what I painted and come back with fresh eyes to make the adjustments it needed. I think that the hardest part of this exhibition for me was working with a team and trying to find work to allocate to people when I'm so used to being the only person working on a project.
Usually, I will use the time spent painting to think about what I want to do next and then make split-second surface level adjustments every step of the way. I had a couple of friends come and help that understand my sporadicity which made me much less anxious about trying to direct a whole team with busy work.
How has the process of this installation transformed the way you think about your work and will you consider a more immersive medium for your artwork in the future?
It’s made me really want to keep an eye out for more small rooms to paint in order to try out new optical illusions and see how differing building styles and room types adjust the types of paintings done in them. The concept of creating a permanent room that is both surreal and a highly functional space is always on my mind.
I love painting toys and small pieces of furniture, but if there was the time to, I’d love to create entire furniture sets and the rooms for which them to inhabit.
Installation Process:
JJ presented the Hokin team with the following three digital renderings to transform Bioluminary into an immersive environment.
JJ began the installation by outlining the design. As assistants filled in the larger blocks of color, JJ worked on the more detailed sections of the mural.
After the painting process was complete, JJ added additional elements to evoke a bioluminescent, mystical atmosphere. JJ worked with the Hokin team to construct a ceiling over the faux cave, line the room with LED strips, and install their hand-crafted mushroom. To fully immerse visitors, JJ also provided audio to be played within the cave.
