Chris Fraser’s work isolates and brings attention to the miraculous and mysterious qualities of light as it moves through architecture—powerful forces that usually go unnoticed in a space. His site‐specific, large‐scale structures act as modified camera obscuras, producing room‐sized abstract canvases painted with refracted streaks of light.

Born of careful study and meticulous experimentation, Fraser’s work takes the viewer to a moment of the sublime, where the way in which the eye perceives light is manipulated to dramatic effect. At his core, Fraser is not a sculptor as much as he is a photographer—he uses his understanding of color theory and optics to control what the viewer sees and, as Erica Levin writes of his work, “…remake(s) our relationship to the camera, and to the everyday production of images.”