An Interview with Chris Meigh-Andrews
Sunbeam, installing screen, 2011
About Chris Meigh-Andrews: Chris Meigh-Andrews is a video artist, writer and curator from Essex, England, whose work often includes elements of renewable energy technology in tandem with moving image and sound. He is currently Professor Emeritus in Electronic & Digital Art at the University of Central Lancashire and was Visiting Professor at the Centre for Moving image Research (CMIR) at the University of the West of England for a period of four years (2013-2017).
«The goal should always be to create a meaningful relationship between the energy source and the artistic experience.»
Can you introduce yourself and your artistic work?
I started working with video in the 1970s, initially focusing on single-screen works. By the 1990s, I transitioned into installation art, exploring how screens interact with space rather than just their screen content. This shift led me to consider sculptural and spatial dynamics, and I began experimenting with site-specific installations. Eventually, I became interested in outdoor installations and the challenges of powering them sustainably. This led to my use of renewable energy, such as solar panels and wind turbines, not only as power sources but as integral conceptual elements of my work.
«Sunlight availability impacts reliability, so solar energy must first be stored before it can be used.»
How do you approach energy use in your installations?
Each installation is different, but a key consideration is whether it’s powered by natural sunlight outdoors or artificial light indoors. Sunlight availability impacts reliability, so solar energy must first be stored before it can be used. Conceptually, I focus on transduction–the transformation of one energy form into another–making the energy transformation process part of the viewer’s experience. For example, in Perpetual Motion, I used a wind turbine to generate electricity, making the act of energy conversion a central part of the piece. I aim for the viewer to not just see the work but to experience the energy flow that powers it.
«Solar-powered installations often require collaboration with engineers or technicians, which brings creative and practical challenges.»
What challenges have you faced in integrating solar power?
Many. First, technology rarely performs as advertised-solar panels, for instance, are affected by temperature fluctuations, which can significantly reduce efficiency. Environmental factors, like tree cover or indoor heating, can disrupt power generation. Then there are logistical constraints: structural concerns, safety regulations, and access limitations, particularly when working in historic buildings. Additionally, solar-powered installations often require collaboration with engineers or technicians, which brings creative and practical challenges. I’ve also encountered resistance from institutions hesitant to alter their spaces. Overcoming these obstacles requires adaptability and a willingness to modify initial ideas based on real-world constraints.
How do you decide where to place solar panels in your installations?
Placement is both an aesthetic and functional decision. The panels must be visible to reinforce the conceptual link between energy production, and artistic output, but they also need to be positioned efficiently for maximum energy absorption. Some works operate on timers or restrict power usage to balance energy input and output. For example, Sunbeam stored daylight energy to be displayed at night, creating a tangible connection between solar power and its artistic representation. In other works, I had to adjust the positioning of panels to minimize shading and optimize efficiency.
«My focus was on ensuring that installations remained conceptually intact while working within energy constraints.»
How do you measure and regulate energy consumption?
I usually collaborated with engineers for energy management. My focus was on ensuring that installations remained conceptually intact while working within energy constraints. In some cases, I powered only the most critical components with solar energy and supplemented the rest with conventional power sources. In Mothlight II, for example, I used solar panels to power the infrared signals that controlled projectors, while the projectors themselves ran on mains electricity. This allowed me to maintain the conceptual integrity of the piece while working around energy limitations.
«Artists working with renewable energy now need to think beyond novelty and consider how to frame solar power within their work in a meaningful way.»
Do you think solar power is viable for future art installations?
Absolutely, but the context has changed. When I first used solar panels, they were novel, and some people didn’t even recognize them. Today, they are commonplace, which changes their conceptual impact. Artists working with renewable energy now need to think beyond novelty and consider how to frame solar power within their work in a meaningful way. Advances in technology have improved efficiency and affordability, but they also require artists to be more intentional about the messages they convey. The focus should be on how renewable energy integrates into the broader artistic narrative rather than just the fact that it’s being used.
«Art and technology rarely behave as expected, but adaptation can lead to new creative possibilities. »
What advice would you give to artists looking to use solar power?
Research is key—understand the efficiency, cost, and availability of solar panels. Expect obstacles and plan for them. Work with specialists if needed, especially when dealing with energy storage and regulation. And most importantly, be flexible—art and technology rarely behave as expected, but adaptation can lead to new creative possibilities. Additionally, artists should consider whether the visibility of solar panels adds to the conceptual strength of their work or if they are merely a practical necessity. The goal should always be to create a meaningful relationship between the energy source and the artistic experience.