[{"data":1,"prerenderedAt":132},["ShallowReactive",2],{"press-at-large-magazine":3},[4],{"id":5,"date":6,"date_gmt":7,"guid":8,"modified":10,"modified_gmt":11,"slug":12,"status":13,"type":14,"link":15,"title":16,"content":18,"featured_media":21,"parent":21,"menu_order":22,"template":23,"Press Categories":24,"class_list":27,"acf":34,"yoast_head":40,"yoast_head_json":41,"_links":101},35707,"2026-04-02T16:33:27","2026-04-02T20:33:27",{"rendered":9},"https:\u002F\u002Fwww.grimanesaamoros.com\u002F?post_type=press&p=35707","2026-05-27T18:11:56","2026-05-27T22:11:56","at-large-magazine","publish","press","https:\u002F\u002Fwww.grimanesaamoros.com\u002Fpress\u002Fat-large-magazine\u002F",{"rendered":17},"At Large Magazine",{"rendered":19,"protected":20},"\u003Ch2>FLOW WAVE By Grimanesa Amorós\u003C\u002Fh2>\r\n\u003Cfigure>\r\n\u003Cimg class=\"lazyload\"\r\ndata-src=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcdn-cgi\u002Fimagedelivery\u002F8b7Mr6loSNKbwTe7bBsNMw\u002Fgrimanesa-amoros-peninsula-istanbul-passage-01.jpg\u002Fformat=auto,quality=85,w=1920\"\r\nalt=\"Grimanesa Amorós PASSAGE — site-specific LED light installation on the historic clock tower of The Peninsula Hotel Istanbul, Turkey. Threads of red illuminate its history as a former passenger transit terminal on the Bosphorus. Large-scale public light sculpture by Grimanesa Amorós, 2025.\">\r\n\u003Cfigcaption>\r\n\u003Ci>PASSAGE\u003C\u002Fi>, 2025 Media: LEDs, reflective material, custom lighting sequence, and electrical hardware.\u003Cbr>\r\nLocation: The Peninsula Hotel Istanbul Clock Tower, Istanbul, Turkey. Dimensions: 25 ft x 25 ft x 60 ft (7.62 m x 7.62 m x 18.3 m)\r\n\u003C\u002Ffigcaption>\r\n\u003C\u002Ffigure>\r\n\r\n\u003Ch2>Words by Jayne O’Dwyer\u003C\u002Fh2>\r\n\u003Cp>Grimanesa Amoros continues to push the bounds of light and sculpture with an enduring fascination with impossible challenges.\u003C\u002Fp>\r\n\u003Cp>Grimanesa Amorós has always charted her own path.\u003C\u002Fp>\r\n\u003Cp>From her youth, the Peruvian-born artist had a fixation on maps, drawing them into the wee hours well after bedtime. Her mother promptly enrolled her in art classes: “I guess [she] preferred [that] instead of using the blank canvases of the walls at my house,” she muses. Early instruction in drawing and painting then gave way to a practice in sculpture, often influenced by the varying biodiversity of her hometown of Lima. “You’re used to basically extremes growing up on the ocean by the Pacific,” Amorós observes. “It’s the largest ocean but also the roughest, especially in certain times of the year. Then in a couple hours you could go to the mountains, the jungle.”\u003C\u002Fp>\r\n\r\n\u003Cp>She traded this extreme landscape for another—the urban jungle of New York City—in 1984, an utterly romantic destination for the burgeoning artist. “I was always watching movies about Harlem, jazz, 42nd Street, the pimps, the 25-cent machines and the out in the open prostitution. New York City has movement and energy that makes it my dream city. It is a city that is not shy of its character; but rather embraces it.” It wasn’t until a fateful trip to Iceland in 2000, however, that Amoros was introduced to the ephemera that would shape the body of her career–marking her departure from painting: the Northern Lights. The tension between wanting to capture the phenomenon and experience it fully galvanized Amorós— and thus launched her artistic life into sights previously unseen. First starting with theater lighting, then eventually LEDs, the multi-media artist began to craft her own radiant world.\u003C\u002Fp>\r\n\r\n\u003Cp>Amoros’s work explores the tension of ephemerality, cultural identity, and what it means to inhabit a space.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cem>PERFECT TIMING\u003C\u002Fem>, a rollicking LED installation in the Printemps windows in downtown New York, echoes the street outside, like traffic lights caught on an overexposed camera. \u003Cem>PASSAGE\u003C\u002Fem>, installed at the Peninsula Hotel in Istanbul, wraps a red LED tubing structure around the central clock tower, adding a sense of whimsy and wonder to the storied building. In a world where digital art attempts to emulate these tubular forms, Amorós’s sculptures don’t undercut physical reality but enhance it all the more.\u003C\u002Fp>\r\n\r\n\u003Cp>She blends art and technology seamlessly—and continues to strive for the next challenge that’ll push the bounds of her practice even further.\u003C\u002Fp>\r\n\r\n\u003Cp>Below, Amorós speaks about incorporating music into her practice, the importance of time, and her passion for tackling the unknown.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cb>Jayne O’Dwyer: You had this fateful trip to Iceland where you saw the Northern Lights, and that was a momental shift for you artistically.\u003C\u002Fb>\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>Grimanesa Amorós:\u003C\u002Fstrong> If I had to name places in the world that I have been that I could recall this roughness, [like] you are on Mars, Iceland would be that. Especially in 2000, Iceland was not so visited by tourism. When I saw the Northern Lights, I had to make a choice. If I take my camera, I’m basically just going to try to take the right picture and not live in the moment. So I decided to not take my camera and focus on the moment. I couldn’t believe what I was seeing that I said, “If I could only share with others, would it be amazing?” But because light is ephemeral, how do you share that ephemerality with others? It took me a while to find the right material to be able to diffuse the light in the manner I wanted.\u003C\u002Fp>\r\n\r\n\u003Cp>At that time, I only worked with LEDs, and LEDs were “prohibited” then. They were extremely expensive. I started with theater lighting, and I only did one project with those on 125th Street in Harlem. It was called \u003Cem>FRENTE FEROZ\u003C\u002Fem>, and it was a whole corner on Park Avenue and 125th Street. It was a permanent project for many years until Eugene Giscombe, the developer, actually passed away. You could see it from the 125th Street station and the streets below.\u003C\u002Fp>\r\n\r\n\r\n\u003Cfigure>\r\n\u003Cimg class=\"lazyload\"\r\ndata-src=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcdn-cgi\u002Fimagedelivery\u002F8b7Mr6loSNKbwTe7bBsNMw\u002Fgrimanesa-amoros-aeternum-shelter-island-medium-01-820A6872.jpg\u002Fformat=auto,quality=85,w=1920\"\r\nalt=\"Grimanesa Amorós AETERNUM — 16-foot private commission LED sculpture and light sculpture at a residence, Shelter Island, New York, 2023. Made of LEDs and diffusion material, this vertical hourglass light sculpture draws on the ancient Incan lunisolar calendar to meditate on the eternal dance between sun and moon, conceived as a tribute to two collectors who see themselves as twin flames. Light sculpture by Grimanesa Amorós.\">\r\n\u003Cfigcaption>\r\n\u003Cem>AETERNUM\u003C\u002Fem>, 2023. Media: Stainless steel, diffusion material and reflective material, LEDs, custom lighting sequence, and electrical hardware.\u003Cbr>\r\nLocation: Shelter Island, New York. Dimensions: 4.2 ft x 4.2 ft x 16ft (1.3 m x 1.3 m x 5 m)\r\n\u003C\u002Ffigcaption>\r\n\u003C\u002Ffigure>\r\n\r\n\u003Cfigure>\r\n\u003Cimg class=\"lazyload\"\r\ndata-src=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcdn-cgi\u002Fimagedelivery\u002F8b7Mr6loSNKbwTe7bBsNMw\u002Fgrimanesa-amoros-radiance-la-philharmonic-walt-disney-concert-hall-01.jpg\u002Fformat=auto,quality=85,w=1920\"\r\nalt=\"Grimanesa Amorós RADIANCE — monumental LED light installation at Walt Disney Concert Hall, Los Angeles, CA. Rope-like tubes of shifting color and light intensity cascade through Frank Gehry's iconic interior, creating a pulsing, fire-inspired light sculpture commissioned by the LA Philharmonic for Scriabin's Prometheus, conducted by renowned Esa-Pekka Salonen. Site-specific immersive light art by Peruvian-American artist Grimanesa Amorós, 2026.\">\r\n\u003Cfigcaption>\r\n\u003Cem>RADIANCE\u003C\u002Fem> 2026 Media: Reflective material, custom lighting sequence, and electrical hardware.\u003Cbr>\r\nLocation: Walt Disney Concert Hall, Los Angeles, California. Dimensions: 60 ft x 35 ft x 5 ft (18.3 m x 10.7 m x 1.5 m)\r\n\u003C\u002Ffigcaption>\r\n\u003C\u002Ffigure>\r\n\r\n\u003Cp>\u003Cstrong>JO: You’ve described your work as a constant romance with the unknown. Some people find the unknown terrifying. Why do you characterize the unknown as romantic?\u003C\u002Fstrong>\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>GA: It never feels terrifying to me. I love it. I say, “OK, now what am I going to do?” It’s a romance because it’s unknown. That challenge is what excites me.\u003C\u002Fstrong>\u003C\u002Fp>\r\n\r\n\u003Cp>I combat the unknown with my motto: LPP: love, passion, and perseverance. The unknown is a challenge that I constantly search for, it invigorates me.”\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>JO: Recently, you created RADIANCE in collaboration with the LA Philharmonic, which takes its inspiration from and is in conversation with Scriabin’s Prometheus, Poem of Fire. It’s a complicated piece because you combine technology, light, architecture, music, and live performance. When did you start incorporating music into your work, and what was it like to create such a complex piece on this scale?\u003C\u002Fstrong>\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>GA:\u003C\u002Fstrong> Music has always been important to me. My mother passed away not even a year ago—she had Alzheimer’s—and it’s very interesting how classical music, or any music per se, really activates older people. They might not remember, but the music helps them remember a moment. Neurologically, it was activating parts of the brain because she was singing the songs by memory. She would not remember me, but she remembered the music.\u003C\u002Fp>\r\n\r\n\u003Cp>And sound is also ephemeral. Sound and light communicate. With the LA Philharmonic, it was the first time these two ephemeral qualities would go together.\u003C\u002Fp>\r\n\r\n\u003Cp>I had to think about how I would address the project. I’m not an architect, I just happen to understand space well. Although I have been to the Disney Concert Hall before, I had to refresh my memory about what Frank Gehry wanted to say with the architecture. I realised that I wanted to make a very important dialogue with the organ because the organ is very prominent. Then I learned afterwards how important the organ was for Frank Gehry.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>My work always communicates with the architecture, the piece itself, and the viewer. When these three elements get encapsulated, that’s where the magic happens.\u003C\u002Fstrong>\u003C\u002Fp>\r\n\r\n\u003Cfigure>\r\n\u003Cimg class=\"lazyload\"\r\ndata-src=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcdn-cgi\u002Fimagedelivery\u002F8b7Mr6loSNKbwTe7bBsNMw\u002Fgrimanesa-amoros-bric-hedera-05.jpg\u002Fformat=auto,quality=85,w=1920\"\r\nalt=\"Grimanesa Amorós HEDERA — large-scale outdoor light sculpture and public art light sculpture at the Prospect Park Bandshell, BRIC, Brooklyn, NY. Over 2,000 square feet of glowing ivy-like LED art transitions from translucent white to deep red, while reflective domes shift from aquamarine blue to ruby red. Light sculpture outdoor installation by Grimanesa Amorós.\">\r\n\u003Cfigcaption>\r\n\u003Cem>HEDERA\u003C\u002Fem> 2018. Media: Stainless steel, diffusion material and reflective material, LEDs, custom lighting sequence, and electrical hardware.\u003Cbr>\r\nLocation: Prospect Park, Brooklyn, New York, USA. Dimensions: 50 ft x 50 ft x 40 ft (15.24 m x 15.24 m x 12.19 m)\r\n\u003C\u002Ffigcaption>\r\n\u003C\u002Ffigure>\r\n\r\n\u003Cfigure>\r\n\u003Cimg class=\"lazyload\"\r\ndata-src=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcdn-cgi\u002Fimagedelivery\u002F8b7Mr6loSNKbwTe7bBsNMw\u002FGrimanesa-Amoros-Perfect-Timing-Printemps-09.jpg\u002Fformat=auto,quality=85,w=1920\"\r\nalt=\"PERFECT TIMING, a site-specific light installation by Grimanesa Amorós on Wall Street, New York City, featuring suspended luminous sculptures that pulse and shift through warm golds, vibrant ambers, and subtle silvers, creating a rhythmic interplay of glowing light and shadow across the architectural space, evoking the flow of time and the energy of the urban environment in an immersive, radiant experience.\">\r\n\u003Cfigcaption>\r\n\u003Cem>PERFECT TIMING\u003C\u002Fem>, 2026 Media: LEDs, diffusion material, custom lighting sequence, and electrical hardware\u003Cbr>\r\nLocation: PRINTEMPS New York, New York.\u003Cbr>\r\nDimensions: 100 ft x 9 ft x 5 ft (30.5 m x 2.7 m x 1.5 m)\r\n\u003C\u002Ffigcaption>\r\n\u003C\u002Ffigure>\r\n\r\n\u003Cp>In Prometheus, the colors are essential, so I had to see how I was going to incorporate his vision. My lighting and even my colors are custom. I make and mix them. They are not preset colors that can be found. Creating these colors took me around two weeks. I not only did the piece but also took over the lights of the theater. So, although I was commissioned for Prometheus, I did all the previous music and the theater lighting as well. I was very lucky because I had the support of Esa-Pekka [Salonen],the conductor. I wanted to start everything just with a light on top of him and then end also that way, in complete blackness. Luckily, he thought that was very interesting. Because of the ending of the Scriabin piece, the music becomes very intense, the piano as well. Everything is pure intensity to the max. So the light starts getting white and everything is shaking. All the house lights then go to the audience. The musicians told me that it was the first time that they actually saw the audience during a performance. Then it’s black again.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cb>JO: Time is both a theme and a practicality in your work. Did working with music complicate or clarify your relationship with time?\u003C\u002Fb>\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>GA:\u003C\u002Fstrong> It made me feel that I was on the right path in my perception of time. We cannot do anything for the past, it’s already happened. When musicians play music, it is precise and exact. Then the second passes. It’s the same with light. There’s something beautiful about it, because they communicate, and they cannot be owned, right? A person, for example, is looking at a piece of mine, perhaps they have to wait 15, 20 minutes, whatever the [duration of the] sequence is, to look upon a moment again, but you cannot grab on to it.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>JO: You’ve created sculptures in very\r\ninhospitable conditions like extreme\r\nheat. What do you enjoy about these\r\nchallenges?\u003C\u002Fstrong>\u003C\u002Fp>\r\n\u003Cp>\u003Cstrong>GA:\u003C\u002Fstrong> [It’s] not only emotional but physical.\r\nYou’re talking about very often minimum\r\n16 hour days, sometimes 24 hours. My\r\nfavorite part is when the work is done\r\nand you then sit by the piece, and\r\nnobody knows that you are the artist,\r\nyou hear what people have to say. This is\r\nthe reason why I always get so inspired\r\nto start a project and enjoy the process.\u003C\u002Fp>\r\n\r\n\u003Cp>Like I said, the imagination of people,\r\nwhat they see, and what they say, is\r\nincredible. Because an engineer would\r\nbe able to think about, “Okay, how is this\r\ndone?” For a writer, you’re much more\r\ninterested in the conceptual reason as to\r\nwhy that piece exists.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cb>An artist has to have\r\na conceptual reason as\r\nto why you are making a\r\npiece of art, why you\r\nare trying to say as an\r\nartist, right? I always\r\ntry to make pieces that\r\ncommunicate with all\r\nsorts of individuals\r\nand all types of ages,\r\nso make a piece that\r\nbecomes basically\r\nuniversal, and then, at\r\nthe same time, timeless.\u003C\u002Fb>\u003C\u002Fp>\r\n\r\n\u003Cfigure>\r\n\u003Cimg class=\"lazyload\"\r\ndata-src=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcdn-cgi\u002Fimagedelivery\u002F8b7Mr6loSNKbwTe7bBsNMw\u002Fgrimanesa-amoros-argentum-bronx-museum-04b.jpg\u002Fformat=auto,quality=85,w=1920\"\r\nalt=\"Grimanesa Amorós ARGENTUM, 9 x 5 ft 4 in x 5 ft 4 in LED sculpture and light sculpture now in the permanent collection of The Bronx Museum of the Arts, Bronx, New York, 2024. Made of stainless steel, diffusion and reflective material, LEDs, and custom lighting sequence, its two interlocking sections embody the geographic and cultural bond between Manhattan and the Bronx. Permanent collection exhibition of LED sculpture and light sculpture by Grimanesa Amorós at The Bronx Museum of the Arts.\">\r\n\u003Cfigcaption>\r\n\u003Ci>ARGENTUM\u003C\u002Fi>, 2024 Media: Stainless steel, diffusion and\r\nreflective material, LEDs, custom lighting sequence, and\r\nelectrical hardware.\u003Cbr>\r\nLocation: The Bronx Museum Bronx,\r\nNew York.\u003Cbr>\r\nDimensions: 9 ft x 5.3 ft x 5.3 ft (2.7 m x 1.6 m x 1.6 m)\r\n\u003C\u002Ffigcaption>\r\n\u003C\u002Ffigure>\r\n\r\n\u003Cp>\u003Cstrong>JO: There is a tense social discussion\r\naround AI and its destabilizing nature\r\nas it relates to art. But when I look\r\nat your work, which has obviously\r\nembraced technology for decades\r\nnow, it offers a very grounding force:\r\nit enhances a location and its\r\nphysicality. Are you hopeful about\r\nthe relationship between art and\r\ntechnology, and what about that union\r\nstill excites you?\u003C\u002Fstrong>\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>GA:\u003C\u002Fstrong> I think that goes back to time.\r\nWith AI, we are now living at a different\r\ntype of velocity. Things are much quicker.\r\nRight now, it feels a little uncomfortable\r\nfor a lot of people because they are\r\nnot used to things moving that fast.\r\nThink about how quickly now, instead of\r\ngoing to Google, people are using AI.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>So the speed of\r\ninformation has crossed\r\nmany boundaries in\r\ntime. I embrace it, and\r\nI think that if it’s\r\nused properly, like\r\nanything else in life,\r\nit’s ok. Maybe it’s\r\na more natural process\r\nfor me because I embrace\r\ntechnology. Technology\r\nallows me to do many\r\nthings I wouldn’t be\r\nable to do without\r\nelectricity.\u003C\u002Fstrong>\u003C\u002Fp>\r\n\r\n\u003Cp>It’s like when computers came about,\r\nright? People born with it become\r\nintuitive naturally; others have to learn.\r\nI never want to feel prehistoric, so I always\r\ntry to adapt very quickly.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>JO: What are you hoping to tackle next?\u003C\u002Fstrong>\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>GA:\u003C\u002Fstrong> I had a project that started in 2018\r\nwith the city of New York. Just yesterday,\r\nI had a meeting [to find out] that the\r\nproject has been postponed to 2029.\r\nIt’s going to be a permanent project in\r\nNew York, and it’s going to happen. It’s\r\na very interesting project because I will\r\nbe using light very differently, in a much\r\nmore ephemeral way. So when you see it,\r\nyou will see just the light, but not perhaps\r\nthe encapsulation of a sculpture with it.\r\nThat’s very important, because it will tell\r\nyou something new every time you see it.\r\nThe sequence keeps moving; It breathes\r\nlike a living organism.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>I’m always aware that\r\ntime is important, so I\r\nalways want any person\r\nthat walks in front of\r\nthe work to at least\r\nturn around. That’s\r\nwhat makes it successful,\r\nbecause I’m grabbing a\r\nsecond, two seconds of\r\nthat person’s time.\u003C\u002Fstrong>\u003C\u002Fp>\r\n\r\n\u003Cfigure>\r\n\u003Cimg class=\"lazyload\"\r\ndata-src=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcdn-cgi\u002Fimagedelivery\u002F8b7Mr6loSNKbwTe7bBsNMw\u002Fgrimanesa-amoros-solar-sanctuary-03.jpg\u002Fformat=auto,quality=85,w=1920\"\r\nalt=\"Grimanesa Amorós SOLAR SANCTUARY — light sculpture and LED art installation in New York, NY. A luminous LED sculpture with a golden and warm tonal palette referencing the Incan golden disk of Inti and the quality of sunlight moving through interior space. Site-specific light sculpture grounding an ancient cosmological symbol within the lived experience of the present day, by Peruvian-American light artist Grimanesa Amorós.\">\r\n\u003Cfigcaption>\r\n\u003Cem>SOLAR SANCTUARY\u003C\u002Fem>, 2025 Media: LEDs, diffusion and reflective material, custom lighting sequence, electrical hardware,\r\nstainless steel, and brass. Location: The Plaza, New York, NY. Dimensions: 8.75 ft x 6 ft x 11 ft (2.6 m x 1.8 m x 3.3 m)\r\n\u003C\u002Ffigcaption>\r\n\u003C\u002Ffigure>\r\n\r\n\u003Cfigure>\r\n\u003Cimg class=\"lazyload\"\r\ndata-src=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcdn-cgi\u002Fimagedelivery\u002F8b7Mr6loSNKbwTe7bBsNMw\u002FGrimanesa-amoros-argentum-bronx-museum-05.jpg\u002Fformat=auto,quality=85,w=1920\"\r\nalt=\"Grimanesa Amorós ARGENTUM, 9 x 5 ft 4 in x 5 ft 4 in LED sculpture and light sculpture now in the permanent collection of The Bronx Museum of the Arts, Bronx, New York, 2024. Made of stainless steel, diffusion and reflective material, LEDs, and custom lighting sequence, its two interlocking sections embody the geographic and cultural bond between Manhattan and the Bronx. Permanent collection exhibition of LED sculpture and light sculpture by Grimanesa Amorós at The Bronx Museum of the Arts.\">\r\n\u003Cfigcaption>\r\n\u003Ci>ARGENTUM\u003C\u002Fi>, 2024 Media: Stainless steel, diffusion and\r\nreflective material, LEDs, custom lighting sequence, and\r\nelectrical hardware.\u003Cbr>\r\nLocation: The Bronx Museum Bronx,\r\nNew York.\u003Cbr>\r\nDimensions: 9 ft x 5.3 ft x 5.3 ft (2.7 m x 1.6 m x 1.6 m)\r\n\u003C\u002Ffigcaption>\r\n\u003C\u002Ffigure>",false,0,5,"",[25,26],1227,652,[28,14,29,30,31,32,33],"post-35707","type-press","status-publish","hentry","PressCategories-2022-current","PressCategories-all-selected-press",{"poster-image":35,"pdf_url":36,"download":36,"press-pub_date":37,"press-ori_title":38,"press-writer":39,"press_writer_url":23},"grimanesa-amoros-peninsula-istanbul-passage-01.jpg","https:\u002F\u002Fwww.grimanesaamoros.com\u002Fcatalogues\u002Fpdfs\u002FGrimanesa-Amoros-At-Large-Magazine-Issue-25.pdf","April 2, 2026","FLOW WAVE By Grimanesa Amorós","Jayne O'Dwyer","\u003C!-- This site is optimized with the Yoast SEO plugin v24.2 - https:\u002F\u002Fyoast.com\u002Fwordpress\u002Fplugins\u002Fseo\u002F -->\n\u003Ctitle>At Large Magazine | GRIMANESA AMOROS\u003C\u002Ftitle>\n\u003Cmeta name=\"description\" content=\"Read the latest articles on the projects of Grimanesa Amorós in the At Large Magazine feature—exploring art and light.\" \u002F>\n\u003Cmeta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \u002F>\n\u003Clink rel=\"canonical\" href=\"https:\u002F\u002Fwww.grimanesaamoros.com\u002Fpress\u002Fat-large-magazine\u002F\" \u002F>\n\u003Cmeta property=\"og:locale\" content=\"en_US\" \u002F>\n\u003Cmeta property=\"og:type\" content=\"article\" \u002F>\n\u003Cmeta property=\"og:title\" content=\"At Large Magazine | GRIMANESA AMOROS\" \u002F>\n\u003Cmeta property=\"og:description\" content=\"Read the latest articles on the projects of Grimanesa Amorós in 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