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In News

By TM Lighting

Invest in the Future of Creativity, Made in Arts London panel talk at TM Lighting Gallery, 14th November

On 04, Nov 2019 | In News | By TM Lighting

On 14th November  Made in Arts London is hosting a closing panel talk at TM Lighting Gallery, to celebrate the 2019 Collection on display at TM Lighting.

Invest in the Future of Creativity

Made in Arts London panel talk at TM Lighting Gallery

Thursday 14th November 2019, 6.30pm – 8pm

Emerging artists not only contribute to growing creative and digital industries, but to new perspectives. Whether you’re an established creative, a collector, a gallerist, an emerging artist yourself, or whether you just have a genuine enthusiasm for the arts, there are so many ways you can invest in the future of creativity. Join the discussion to find out how.

6.30pm-7.00pm – reception drinks

7.00pm-7.40pm – panel discussion with industry professionals


7.40pm onwards – networking drinks, and opportunity to hear from Made in Arts London artists/creatives about their work.

8.30pm End


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In News

By TM Lighting

Artist Spotlight: Eleanor Seuss

On 05, Nov 2019 | In News | By TM Lighting

TM Lighting is pleased to collaborate with University of the Arts London’s Made in Arts London to present the ‘MiAL 2019 Collection’ exhibition at TM Lighting Gallery , showcasing art and design from over 30 UAL students from 12th September to 29th November 2019. During the exhibition we’re highlighting some of the artists to learn more about their work at this important stage in their career:

Artist Spotlight: Eleanor Suess

  • UAL College: Central Saint Martins
  • Course: PhD
  • Graduation Year: 2020

Can you tell us a bit about the process behind your work?

I link my time-based work and cyanotype printing to explore the conventions of architectural “axonometric” drawing projection through the recording of the shadows of clear acrylic solid blocks and hollow cubes. In this collection I have used twelve configurations of the same four acrylic blocks to produce a series of original cyanotype prints which record the shadows and refracted and reflected light of each unique arrangement of the blocks. The parallel rays of sunlight which activate the cyanotype paper construct a sequence of images that follow the convention of non-perspectival oblique projection – a true plan is formed from the contact of the blocks on the paper, and the parallel sun rays trace the oblique side elevations. The resulting “blueprints” suggest an architectural or urban form; however, the abstract instrumentality of the axonometric drawing type is undermined through the materiality of the process: the shadows’ penumbras increase as they pull away from the picture place, blurring what were once sharp edges. As light travels through the solid, yet transparent material, it reveals imperfections in the acrylic as they become imprinted in the fine detail of the cyanotype.


What is the inspiration behind the pieces in the Collection?

This work takes reference from architectural representation, through the use of cyanotype “blueprints” and the conventions of non-perspectival oblique drawing projection. The work translates these abstracted drawing techniques, finding the impossible form of the axonometric in real space, via the shadows of objects as projected by sunlight.


Which artists inspire you or have had some influence on your work?

As a form of photogram printing the work takes some influence from the images of Moholy-Nagy and Man Ray, specifically the photograms where the three-dimensional nature of the object is apparent in the image. The work also takes substantial reference from the architectural drawing techniques of axonometric projection (to produce a non-perspectival, scalable three-dimensional image), and skiagraphy (the rendering of shadows on a two-dimensional drawing to indicate depth).


What feelings or response do you hope viewers will gain from seeing your work in the exhibition?

I hope the viewer experiences a tension between representational, architectural content and abstract imagery, and finds that they can read and interpret each piece in a range of ways and at several scales. I also hope that they find pleasure in the material nature of the cyanotypes, from the powerful colour, the subtle texture of the paper, to the detail embedded in each print.


What inspires you particularly about the medium you currently work in?

As one of the earliest forms of photographic printing, the simplicity and fundamental material nature of the process is embedded in the cyanotype artefact. The quality of presence and absence when making photograms of objects’ shadows provides an uncanny, haunting quality to the resultant images. Each shadow print is unique and embodies not only the object, now absent, but the constantly changing conditions of sunlight as received at a particular time and place. The use of the medium of the original process for architectural reprographic blueprints lends the opportunity of an architectural reading.


What would you like to achieve through your work?

The collection presented through MiAL is part of a wider project to develop the use of cyanotype printing to explore light and shadow in existing and propositional architectural space.


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More about the exhibition



In News

By TM Lighting

TM Lighting Illuminates new anniversary display of Rembrandt’s masterpiece ‘Self-Portrait with Two Circles’, at English Heritage Kenwood House

On 16, Oct 2019 | In News | By TM Lighting

English Heritage Curators put finishing touches on the new Rembrandt display at Kenwood House. Artwork lit by TM Lighting Slim Light Pro Picture Light.


TM Lighting is proud to have worked with English Heritage to provide specialist art lighting for their milestone display ‘Rembrandt #nofilter’ at Kenwood House in Hampstead, London. The special display commemorates 350 years since Rembrandt’s death (4 October,1669) and celebrates the artist’s ‘Self-portrait with Two Circles’, a painting widely acknowledged as one of Rembrandt’s defining images and regarded by some as one of the world’s greatest works of art. The painting was recently on loan to Gagosian gallery for their exhibition in partnership with English Heritage, Visions of the Self: Rembrandt and Now.


TM Lighting design and manufacture award-winning picture lights and accent lights which incorporate advanced LED technology and a unique quality of light. For this commemorative display, TM Lighting used their high colour rendition LED Slim Light Pro Picture Light to illuminate the self-portrait ensuring the painting is evenly lit, the colours are rich and vibrant, and the medium is conserved. The TM Slim Light Pro is housed in a minimal 19mm diameter body and is complemented by excellent glare control. The targeted light distribution allows the use of a smaller body than that of larger, traditional style picture lights, without compromising on optical performance, comfortably lighting canvases of 4 metres in height.


Andrew Molyneux, Co-Founder of TM Lighting explained “Advising on how to light the art is only part of the story. The way that light is used in the room also affects the way that visitors observe the artwork. So, we also assisted making recommendations about the artwork positions and how they relate to each other, from a lighting perspective. Originally, the curators were going to place the contemporary artwork (a video interpretation) opposite the artwork. Careful consideration was given to positioning of artworks and the lighting to ensure there was no reflection from the video in the glass that might disrupt this extraordinary new viewing experience of Rembrandt’s self-portrait in full glory.”


Another consideration for the display was discovering there was nowhere to easily mount spotlights in the room. In view of this challenge, whilst being mindful of the fabric of the historic building, TM Lighting decided the most straight forward way to light the artwork was with a picture light, making use of wiring that was already existing in these locations to be able to do this.


Integral to the brief from the English Heritage curators was to create a contemporary display of Rembrandt’s renowned self-portrait, to present the celebrated work in a new light both for new and existing audiences. The temporary replacement of the ornate, 18th-century, gilded frame with a simpler, ebonised frame led to the selection of a more contemporary picture light; TM Lighting’s Slim Light Pro.


An antique bronze finish was selected to fit in with the frame colouring. An additional, and hugely important consideration for the curators, is the conservation of the painting. The lighting experts at TM Lighting ensured the picture light Lux levels were precisely set in line with the conservation requirements for the temporary display.


Rembrandt #nofilter sees Self-Portrait with Two Circles displayed in relative isolation, alongside a new digital photomosaic of its own likeness. Rembrandt reinvented the genre of self-portraiture and he was incredibly prolific in this regard, making around 80 during his career. This new digital artwork will be comprised of ‘selfies’ taken by visitors to Kenwood, pitting Rembrandt’s timeless self-portrait against the ephemeral images of the ‘selfie age’ and positioning it as an exemplar of how old masters can still communicate in a powerful way with contemporary audiences.


Esmé Whittaker, Curator of Collections and Interiors for Kenwood comments: “We wanted to give visitors the opportunity to closely examine Rembrandt’s self-portrait in a new context and specialist art lighting was essential. TM Lighting’s advice about the best way to light the painting was invaluable – helping us to overcome the challenges of a top-lit historic room and the location of a digital artwork”


The self-portrait is a highlight of Kenwood‘s Iveagh Bequest. In 1925, Edward Cecil Guinness, 1st Earl of Iveagh, bought the house. The collection was bequeathed to the nation along with the house and grounds in 1927 making it open free of charge to the public, including the display of 62 of Lord Iveagh’s Old Master and British paintings.

The collection also includes well-known works by Vermeer, Gainsborough, Reynolds and Turner.

Rembrandt #nofilter will run from 4 October 2019 to 12 January 2020.

Read more


Image  (c) English Heritage, photography by Christopher Ison, 2019



In News

By TM Lighting

Artist Spotlight: James Bryant

On 16, Oct 2019 | In News | By TM Lighting



Artist Spotlight: James Bryant

TM Lighting has collaborated for the second year with UAL: University of the Arts London Made in Arts London to present their annual exhibition launching the ‘2019 Collection’. The exhibition showcases art and design from over 30 UAL students, and throughout the duration we will be providing Artist Spotlights to find out more about the artists and their work.

  • Full Name: James Bryant
  • UAL College: Central Saint Martins School of Fine Art
  • Course: MA Photography
  • Graduation Year: 2019

Can you tell us a bit about the main themes and ideas behind your work?

In my work I use new technologies, performance, photography, net art and site-specific installations to unpick the entanglement of mechanical image making and personal and social patterns of thought. I consider that we are intrinsically connected with the forms of media we consume and participate in and am interested in how the figurative and realistic image informs the way we think, and how the feedback loop of image production and consumption can be understood.


Can you tell us how the pieces from the collection came about?

The images are created from screen shots taken on my phone. They show the convergence point of 3D imagery as viewed in a location mapping software and form a vanishing point where the digital world appears and disappears.

Although produced through the streams of everyday interactions, of trying to establish a location, the images are strikingly pertinent in depicting seams of the pixelated mesh that hovers overhead. What we seem to be examining are evidence of the joins of the illusion, tangible evidence, the invisible brought to its physical rendition.

“As such, the image is— to use yet another phrase of Walter Benjamin’s— without expression. It doesn’t represent reality. It is a fragment of the real world. It is a thing just like any other—a thing like you and me.” – Hito Steyerl, The Wretched of the Screen, “A Thing Like You and Me”


Which artists inspire you or have had some influence on your work?

  • Nam June Paik
  • Francis Alyss
  • Constant Dullaart
  • Hito Steyerl
  • David Hammons
  • Felix Gonzalez-Torres
  • Banu Cennetoğlu
  • Ceal Floyer
  • Jenny Holzer
  • Jean Cocteau


What feelings or response do you hope viewers will gain from seeing your work in the exhibition?

Creating work is an exercise in experimentation; I’m testing out the physicality of image-making and I’m looking to surprise myself about the way I see the world, to challenge my own pre-conceptions, so if a viewer has a similar encounter with the work then this is the greatest take-away I could hope for.


What inspires you particularly about the medium you currently work in?

I like to use an unrestricted approach and to embrace new media that are embedded in the way I live. In particular net art and live stream imagery have an intangibility and process driven nature that constitute a perpetual and perceptual state of change, they seem to resist the stativity of a traditional photographic image and invite a direct interaction with the audience, although as data their trace will remain in perpetuity.



I have recently shown video work as part of Open Mouth Student Film Festival in London (July 2019) and have had work commissioned at Arthouses, Whitley Bay in August 2019 and

by UAL Arts SU to show work at Central Saint Martins Welcome Fair


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More about the exhibition



In News

By TM Lighting

Made in Arts London 2019 Collection – Artist Spotlight: Caroline Streatfield

On 07, Oct 2019 | In News | By TM Lighting

TM Lighting has collaborated for the second year with University of the Arts London’s Made in Arts London to present their annual exhibition launching the ‘2019 Collection’. The exhibition showcases art and design from over 30 UAL students, and throughout the duration we will be providing Artist Spotlights to find out more about the artists and their work.

Artist Spotlight: Caroline Streatfield

UAL College: Wimbledon

Course: MA Painting

Graduation Year: 2019


Can you tell us a bit about the main themes and ideas behind your work?

Drawing on themes from the former Czechoslovakia and surrounding countries, my work is an exploration of narratives, whether truthfully told or embellished by being handed down through generations. I’m interested in how we remember fragments of time and why certain memories remain clear in our minds, as if they happened yesterday whilst other moments can hardly be recalled.


What is the inspiration behind the pieces in the Collection?

I was inspired by stories of Eastern Europe as told by immigrants from the former communist states and I wanted to tell their stories in an honest interpretation.


Which artists inspire you or have had some influence on your work?

I have been influenced by Diego Velázquez, Édouard Manet and contemporary artists such as Chantal Joffe, Jenny Saville, Matthew Krishanu and Michaël Borremans.


What feelings or response do you hope viewers will gain from seeing your work in the exhibition?

I hope the viewer will gain an insight into the lost stories from Eastern Europe. I want to capture the feeling of the past within the narrative through the application of the paint.


Your works are oil paintings. What inspires you particularly about this medium?

Working with oil paint inspires me to take risks by trying different methods of applying the paint. I also like that I’m using a medium that has been used for centuries as this anchors’ me to the past histories of paintings.



OHOS associate member artist 2019

Recipient of the Oppenheim-John Downes Memorial Trust award 2018

Shortlisted for National Open Art prize 2017


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More about exhibition



In News

By TM Lighting

TM Lighting illuminate ‘Legacy’ project for London Design Festival 2019

On 16, Sep 2019 | In News | By TM Lighting

TM Lighting worked with London Design Festival 2019 to illuminate ‘Legacy’  on display at V&A Museum, 14th – 22nd September

London’s top cultural leaders collaborate with influential designers to create a ‘legacy’ piece in American red oak for London Design Festival.

In May of 2019 Sir John Sorrell CBE, Chairman of London Design Festival, invited leaders of London’s cultural institutions to collaborate with some of Europe’s most exciting designers to create a ‘legacy’ piece of design – an object of personal or professional relevance that they would like to pass on to a family member or the institution they lead.

The pieces – ten in total – are all crafted using American red oak. Nine of these beautiful and thought-provoking collaborations are on show in the Sculpture Gallery of the Victoria & Albert Museum, and one piece outside the Natural History Museum on Exhibition Road, for the duration of London Design Festival, 14-22 September 2019.

The 10 commissioners and designers are;

‘Duo’ – ALEX BEARD CBE Chief Executive, Royal Opera House, with TERENCE WOODGATE

‘Writer’s Collection’ – AMANDA NEVILL CBE CEO, British Film Institute, with SEBASTIAN COX

‘Serpentine Postbox’ – HANS ULRICH OBRIST Artistic Director, Serpentine Galleries, with NINA TOLSTRUP and JACK MAMA, STUDIOMAMA

‘Beehave’ – SIR IAN BLATCHFORD Director and Chief Executive, Science Museum Group, with MARLÈNE HUISSOUD

‘Wooden Hinge’ – IWONA BLAZWICK OBE Director, Whitechapel Gallery, with YAEL MER and SHAY ALKALAY, RAW EDGES


‘Au’ – KWAME KWEI-ARMAH OBE Artistic Director, Young Vic, with TOMOKO AZUMI

‘Valet’ – DR MARIA BALSHAW CBE Director, Tate, with MAX LAMB

‘Musical Shelf’ – TAMARA ROJO CBE Artistic Director, English National Ballet, with MARTINO GAMPER


Supported by American Hardwood Export Council.


Specialist LED art lighting for LDF19, GalleryOneFifty:

TM Lighting used their high CRI LED art lighting product to illuminate the installations for London Design Festival; the GalleryOneFifty (G150) is a high-performance spotlight with narrow optics and a magnetic, quick change lens ideally suited for lighting in galleries and museums with tall ceilings and rolling collections.

For more information:  #LDF19

Images: Legacy, Various Designers, Photography by Ed Reeve



In News

By admin

Top Tips for Lighting Art

On 14, Oct 2019 | In News | By admin

Art lighting specialists’ TM Lighting share lighting tips to try at home

TM Lighting, the experts at the forefront of a new generation of specialist LEDs initiated a ground-breaking reinvention of the outdated picture light with the launch of their lighting range which dramatically improves light quality and distribution for artworks.

With true commitment to how we view art, founders, Harry Triggs and Andrew Molyneux provide tips for presenting your artwork to its full potential at home with the new technology that is now available to us.


“Choosing artwork is a very personal process that often elicits an emotional response, it is important to spend time thinking about the best way to present and showcase the work once you take it home so that the experience continues beyond the gallery.


Until the launch of our new range, high-grade lighting was often inaccessible for private homeowners – the sheer scale of old technologies was not suitable for homes. Our products give anyone with a love of art access to museum-grade lighting which is an exciting development with many possibilities”


TM Picture Lights used to light in a contemporary setting at a private residence.

Presentation techniques

Lighting has a direct impact on the atmosphere of a room. You can create drama with the way you illuminate specific pieces. It helps to visualise the space like a theatre stage and to handpick pieces in the space that will become focal points to create life and movement. Three easy techniques achieve very different atmospheres in the room:

Casual solution: Pick out a key picture within the group and light only this and let the light spill onto other works.

Intermediate solution: Use accent lights to project a pool of light onto the group of artworks.

Serious collection solution: Light every piece specifically using individual lights per artwork.


“With these solutions, we recommend creating a secondary layer of vertical illumination, this provides the warmth of the reflected colour of the artwork into the room and adds depth to your lighting scheme.”


How to light art in different environments



In a contemporary environment, there may be more flexibility to use a discreet track and spotlight solution. This will give greater flexibility in the lighting scheme particularly if the client has a rolling/curated art collection.


In a classical setting consider using picture lights instead of spotlights. Both have their own benefits but the use of picture lights provides a more precise lighting tool in comparison with spotlights, which can create scallops of light above the artwork.


The finish of the lights should be considered. If using picture lights, consider using a finish to match other features in the room such as door handles and other light fixtures, such as our Slim Lights or Slim Light Pro in antique bronze. Alternatively, match the finish of the picture light to the frame or wall colour to create a subtle, seamless look. All solutions will work equally well in both settings if the finishes are correctly selected for the environment.

Slim Light Pro lighting painting at John Mitchell Fine Paintings, Masterpiece London


Lighting 3D artwork


When lighting sculptures and 3D works of art, it is most important to understand the artist’s intent, as the position and the quality of light can have a dramatic effect upon how it is perceived, and its focus within a room.


TM suggests using spotlights in specific positions working with light and shadow to accent the form of the sculpture. Poorly positioned lighting on sculpture can completely change the intent of a piece – a face could look sad, or happy just from an incorrectly positioned light.

What to avoid


Avoid positioning artwork in natural light that is high in UV radiation during the morning and high in Infrared radiation during the evening.  These wavelengths are outside of the visible light spectrum but are damaging to delicate pigments in artworks. Therefore, hanging in a position where light spills directly from the window onto the canvas can fade artwork.


Avoid placing artwork directly between large windows, your eye will struggle to see the artwork during daytime without significant artificial light levels to counter the contrast levels. Artworks with reflective glass, or a high gloss level should not be mounted directly opposite large windows to prevent undesirable reflections.


Why LED?

In the past, art was lit with Halogen and other incandescent light sources, emitting Infrared, Ultraviolet and a great deal of heat. A harmful combination that is incredibly damaging to paintings, oils and particularly delicate colour pigments.


TM Lighting has built its business around the benefits of using carefully selected LEDs. TM Lighting products create colour rendition that is unrivalled in the marketplace for a product of its type; a colour temperature that considers the immediate environment and the nature of artwork being lit; and colour consistency that matches the visual across an entire work.


The principal benefit of using LEDs is that the harmful rays are minimised – no UV, Infrared or forward heat is emitted onto the work.  This is crucial when lighting delicate items such as watercolour paintings or textiles and fabrics over a sustained period.


In addition, LED products have the added benefit of dramatically reducing energy consumption and maintenance costs. The benefits of LEDs supersede those of any other light source, an extremely exciting technology that TM is at the forefront of, with great potential for further development.




In News

By TM Lighting

Made in Arts London 2019 Collection launch at TM Lighting Gallery, 11th September

On 09, Aug 2019 | In News | By TM Lighting

TM Lighting is delighted to announce the second year of their collaboration with University of the Arts London’s Made in Arts London to present the ‘MiAL 2019 Collection’, showcasing art and design from UAL students at TM Lighting Gallery from 12th September to 29th November 2019.




The collaboration is part of TM Lighting’s ongoing programme of exhibitions supporting artists, and artwork selected for the exhibition shown at TM Lighting’s Gallery space at their studios located near to London’s Kings Cross.


32 artists have been selected from over 100 submissions by a panel of industry experts for MiAL’s 2019 Collection.  Artworks shown in the exhibition will be professionally lit with TM Lighting’s superior LED gallery lighting, using their GalleryOneFifty spot lights, as seen at leading galleries and art fairs such as Masterpiece London and Frieze Masters.


With an exciting exhibition displaying art and design from over 30 new Artists, we will also be running events and Professional Development sessions throughout the exhibition for UAL’s Made in Arts London artists, from striking the balance between paid work (creative or otherwise) and time spent in the studio (bedroom or rented), juggling the difficulties and delights of freelance work, while also building a creative network.

For more information please get in touch with or visit


TM Lighting Gallery is a non-profit exhibition space that supports emerging artists. As part of an ongoing programme, TM Lighting is pleased to support UAL artists through hosting Made in Arts London’s annual exhibition and providing complimentary exhibition space. Artworks shown in the exhibition are for sale with proceeds going direct to Made in Arts London and the artists.

Exhibitions in the TM Lighting Gallery are lit by TM Lighting specialist LED art lighting, the G150.

Exhibition open weekdays by prior appointment until 29th November, 10am – 5pm. For further information and to arrange a viewing please contact: