Cerith Wyn Evans

[7] Most of the artist's work stems from his strong interest in language and communication, often using found or remembered texts from film, philosophy or literature combined with a clean aesthetic.

His transparent, crystal chandelier sculptures, such as the multi-coloured Italian Murano glass chandelier‚ Astrophotography... (2006) are programmed to evoke an otherworldly language from sections of text translated into the flashing light signals of Morse Code.

The texts rendered in code are sometimes visible simultaneously on adjacent computer screens embedded in the gallery walls[10] and represent a personal canon of literature and include letters, poems, philosophical extracts and short stories by writers ranging from Theodor Adorno, William Blake and Judith Butler to Brion Gysin, James Merrill and the Marquis de Sade.

[11] For the Venice Biennale in 2003, he created Cleave 03, an installation which consisted of a World War II searchlight sending a seven-mile beam of light into the night sky over the Giudecca flashing intermittently in a morse code version of Ellis Wynne's 1703 Welsh text Gweledigaethau y Bardd Cwsc.

[12] In his earlier Cleave installations, he refracted the light signals of Morse code off a rotating mirror ball to create dazzling and intense sensory environments.

[14] For S=U=P=E=R=S=T=R=U=C=T=U=R=E ('Trace me back to some loud, shallow, chill, underlying motives overspill') (2010), Evans created a wall of glowing columns, each one made from thousands of tubular lights[15] that warm the exhibition space unbearably.

[citation needed] Along with other artists, including Liam Gillick and Thomas Demand, Evans was commissioned in 2007 to contribute a work of art to the newly opened Lufthansa Aviation Center in Frankfurt.

That same year, the artist was commissioned to design a large-scale picture (176 m2) for the season 2011/2012 of the Vienna State Opera as part of the exhibition series "Safety Curtain", conceived by museum in progress.