Moskee (1967-1968), Tom Lloyd

SUMMARY
Moskee (1967-1968) is an electronically programmed, light-based sculpture. When the work is turned on, a geometric array of colored incandescent bulbs flash on and off in a sequence determined by an artist-modified cylindrical metal drum, which is rotated by an electrical motor. Behind the translucent plastic of Buick tail light covers, the red, blue, green, and yellow light bulbs blend together to create a range of vivid colors.

The artwork consists of two main components: a wall-mounted light sculpture and a control box. The structural frame of the wall-mounted sculpture, an asterisk-like shape with eight points, is made of white laminated plywood with metal edges. Arranged inside the frame are sixty-two circular tail light covers. Behind each cover are four incandescent bulbs—one of each color. The back and sides of the sculpture are studded with small circular holes that are designed to ventilate the heat generated by the incandescents. On the right side of the frame, there are three switches labeled “ON/OFF,” “HOLD,” and “DISREGARD.” Below the switches, a cable harness comprises five gray cables, each ending in an eight-prong Jones plug.

Inside the control box, a motor causes a metal cylinder to continuously rotate when the artwork is powered on. As with his other light sculptures, Lloyd placed pieces of pressure-sensitive tape in various places along the rotating cylinder. These tape pieces interrupt the physical contact between the rotating cylinder and a series of small wheels, causing the low-voltage electrical current to switch on and off. In this way, the pieces of tape make up the analog “program” that controls the flashing lights. The 30 small contact wheels are connected to 30 relays which convert the low-voltage current into the 110 Volts required by the sculptural light panel.

TREATMENT
The treatment concept for Lloyd’s Moskee in began with cleaning and restoring the artwork’s original analog function through re-soldering and replacement of electrical components that were damaged during the incident with the short circuit in 2013. Once the artwork was functional again, the analog “program” of the control box could be digitized.