BEHIND THE SCENES LIGHTING TECHNICIAN LAUREN WRIGHT

Lighting Technician and Preparator Lauren Wright is a major contributor to the way artworks and exhibitions are presented at the museum. In this interview, we turn the spotlight on Lauren and her important work behind the scenes.

How did you get started in lighting?

I’m originally from outside of St Louis, Missouri. I’d enjoyed doing lighting for high school theater, so I went to a program at Webster University for theater lighting design and then worked in theater in New York.

What kind of responsibilities does your job entail?

I was here when the museum switched over from halogen to LED between 2018 and 2020, so I’ve lit every artwork on view. There’s also maintenance: LEDs can burn out, and because these are specialized lights on a flexible neck, they can shift or droop over time. I also work closely with conservation, gathering data on things like sunlight levels.

What kind of challenges and considerations inform your work?

Anyone can point a light at a piece, but illuminating details to make the artwork look alive requires expertise. Threedimensional works, or those in a case, also need to be viewable from different angles. I work with curators and design to set the mood for different spaces. Transitions between spaces are important, too; as you’re walking in, it shouldn’t suddenly be too dim or too overwhelming. The biggest challenge is working within the conservation standards: finding levels that look good without harming the artwork.

Why do some of the galleries seem dark?

Artworks, especially textiles and paper, can be irreparably damaged by light. We’re trying to preserve these delicate treasures for future generations; we take that very seriously. If something seems dimly lit, it’s probably very fragile and very old!

What can you share about your lighting approaches for Beyond Bollywood: 2000 Years of Dance in Art?

Distinct moods and atmospheres are very important for Beyond Bollywood. It’s intentionally big and bold. We use a tiny bit of color all around the museum, but most of the big color splashes in the lights usually come from contemporary artists like Kongkee, Carlos Villa, or Jean Shin. Bollywood has to balance the use of color to convey emotions and atmosphere while also using our standard lights for any sensitive, older artworks.

Do you have a favorite artwork here?

I have two: One is in the Japanese ceramics gallery — a figurine of a man wearing a hat. I just love him! And in the adjacent gallery, there’s a wooden Buddha, with one hand extended in a symbolic gesture. I’ve done more elaborate lighting elsewhere, but I think the simple lighting on this piece really works — it looks calm and serene. n