WRITER LAUREN O’NEILL INTERVIEWS NICOLE MARTIN ABOUT HER LIGHT SCULPTURES
Lauren O’Neill: How did you get into making light sculptures?
Nicole Martin: I just liked light sculptures; I really was drawn to them in the festival scene. I think they’re very impactful, beautiful, and stand out in a dark field. I love that they come alive at night. It sounds a little silly but I’ve always been drawn to lights. I’m half South African, half Madeiran Portuguese, and when I was in South Africa, I have a memory of driving outside of Johannesburg as a little kid and looking out the back window. I saw the lights of the city and then all of a sudden, lightning came down – I was just fascinated with all the lights. When I went to some festivals in Europe, I was more drawn to sculptures that were light based.
I studied Jazz and Contemporary Music Performance in DCU. I was a musician for a really long time. Being in the music scene and playing various types of gigs, including festivals, introduced me to a lot of different people. I discovered that art installations for festivals were a thing when I went to a drum and bass gig, and this girl (now a best friend), Chloe, was DJing. She was so good, and after her set, I asked her to jam. We had a really good time playing music. Then I met her at a party a couple of weeks later. I asked her, “what do you actually do?” And she said that among a few things, she builds art installations for festivals. I didn’t realise that that was a career and something sparked inside of me.
I was with Chloe at Fuinneamh Festival in Dundalk and she told me about another festival in Galway called Éalú Le Grá. She said if you want to build an art installation, you should talk to Tommy, the founder. She pointed him out to me. I beelined for him and I said, “hi Tommy, my name’s Nicole Martin and I want to do an art installation for your festival.” I had some paintings up in a festival gallery space, run by an art collective called VisionÉire. I literally grabbed his hand and pulled him into the gallery and said, “this is my work.” He enthusiastically replied, “sure, let’s make it happen.” I went to the Éalú Le Grá workshop for a month and that’s where I built the illuminated owl sculpture. I learnt so much during that time.
LON: During the creative process, do you consider the warmth or colour of light?
NM: I tend to do warmer colours. In theory, I could programme my lights to flash, but I don’t because I want to create this glowing, ethereal creature. With the owl, I always tend to use warm colours because they suit her personality. The snail is a bit cheekier, so I’ve put hot pink lights in her at times. I did the moon blue, which I thought was really beautiful. The colour of the lights is mainly chosen onsite, based on what will fit. You’re also consulting with art directors about what kind of lights or colours work well in the space. I’m very versatile.
LON: What do you think attracts people to your pieces?
NM: I feel the reason they’re successful within festivals is because they create a different atmosphere. There’s flashing lights everywhere; it’s kind of chaotic. Then you go into the forest and walk by a giant owl, snail, moon, or delicate flowers that are glowing with light. You can have a moment to sit there by yourself and stare for a little while before returning to madness. I have videos of people sitting in front of the owl. There’s a funny one of a guy dancing to the owl. The first year, someone put a feather in a rock and left it behind the owl. People were going there and maybe doing some good intentions, manifestations, or leaving little notes. I love that interaction – that space to think. It’s fun to see the differences in how people interact with my sculptures and use them in different ways. As an artist, you need to allow people to have their own connection with your work.
LON: Does the exhibition of your work influence the creative process?
NM: I’m sure people would have the same conversations in front of my pieces at a wedding as they would at a festival. I like the impact of it. I love that feeling of awe as a festival goer, standing in front of giant illuminated art. I want to bring a bit of joy to the passerby and bring people together. At a wedding, my sculptures are a connection point – something for people to talk about. I love doing weddings and am always honoured to be a part of someone’s special day.
LON: What draws you to explore natural themes through the medium of light?
NM: Studying jazz was extremely fundamental to my creative process. One of my college exams involved composing a piece of music in response to an abstract variable, like a squiggle, or the colour orange. It was fantastic because it taught me how to create my own inspiration. I have developed so many sculpture ideas using this method.
For example, when I had made the structure for the owl sculpture, I was trying to think of what to paint on its surface. It’s a lantern, so I wanted to block some of the light with a design or pattern. I was sitting outside, drinking a coffee, and this tiny black and white bird scurried past me on the ground. I thought, “I love the texture of this bird,” so I knew I wanted it to be black and white. I tend not to overthink too much; I feel like perfectionism kills creativity.
LON: Are there any upcoming projects that you’re developing and where will they be exhibited?
NM: I’ll be at various festivals this summer, including Kaleidoscope (3 to 5 July, Russborough House, County Wicklow), All Together Now (30 July to 2 August, Curraghmore Estate, County Waterford), and Electric Picnic (28 to 30 August, Stradbally Hall Estate, County Laois). I’m also doing the RDS Wedding Show from 5 to 6 September in Ballsbridge, Dublin.
Nicole Martin is a Light Artist. She brings spaces to life with her giant lit up lantern sculptures. She will be performing at Culture Night, 18 September 2026, with Motion Chapel, an artist residency space in Roscommon.
Lauren O’Neill is a writer and reporter.
