Mankind's victory over darkness is in some ways our greatest achievement. Gone are the days when sunrise and sunset defined the limits of our day; now we can banish the shadows by simply flicking a switch. The result of our love affair with electricity, however, is that modern cities are saturated with coloured light. This creates a challenge for anyone working with light to develop an identity and focus with their work in an urban space, while remaining in harmony with their surroundings. In this way Raphael Daden's 'Brighton Cones' are instantly recognisable, playfully converting the conical shape of road bollards into a stately piece of illuminated art and also complementing the shape of the surrounding architecture. Apart from providing a creative solution to functional lighting and positioning artwork in the public domain, the regeneration of urban areas using light also inspires artists to transform perceptions of buildings and places using a variety of materials and techniques. The increasing popularity of using light-based artwork is partly due to the development of new technologies which have changed how light can be controlled, while the long life and low energy needs of LED lights make them perfect for Public Art applications. Subways, walkways and underpasses in particular lend themselves to these kinds of interventions, as they are less affected by external light sources. Daden's thirteen 'Light Columns' in central Nuneaton have transformed a dull walkway between shops into a colourful illuminated space. A changing kaleidoscope of vibrant LED spotlights colour-wash the insides of each sculpture, which are constructed from perforated polished stainless steel superimposed one layer over another. These produce interesting and beautiful geometric patterns for passers by called the 'Moir? effect'. Similarly, 'Light Waves', an interactive light board involving thousands of LED?s, creates a dramatic and beautiful intervention through a walkway in London. Nothing can prepare the viewer for the scale of the piece, which uses motion sensors and cutting edge computer software to generate complex colour-changing sequences in response to the movements of passers by. Festival sites also provide an ideal location for Light Art where a lot of activity continues after dark and although the structures are temporary, can use basic technology to strong effect. Glastonbury Festival commissioned Daden?s 'Text Tower' in 2004, a cubic structure enclosing halogen lights and using coloured filters to create hidden words in the seemingly random text. The tower became a reference point for directions and a popular meeting point. In Sheffield, 'Circle' has created both a logo and identity for a new Voluntary Action Centre. The startling design dominates the eye of the passer by with twenty different sequences running in a continuous loop which pulsate, surge and fade through a flow of different colours from neon blues and greens to vivid reds and purples. The circular design also breaks up the angular structure of the building and lends it a more inviting aspect. Drawing inspiration from the healing element of coloured light, Daden created 'Light Wall' for the waiting area inside Yeovil and District Hospital in 2005. The slow moving colour sequences create a calming space, using an opaque glass screen colour-washed by LED lights to separate the seated area from the reception. The translucent effect of the intense colours creates an illusion of depth which draws the viewer into a physical experience of light and its' ability to transform the way we feel. Daden's connection with the natural world - having grown up on the Somerset Levels ? also informs his work. In 2006 he constructed a series of large glass pieces, exploring the impact which climate change could have on the landscape, using abstract patterns to indicate the inundation of the countryside by the fast rising sea. These pieces reference the traditional technique of passing white light through coloured glass and were made from small pieces of recycled clear bottle glass with coloured filters placed behind them to create a pure colour effect over the highly textured surface. Using delicate materials such as broken glass reflects the fragile equilibrium of the Earth's climate and also creates an opportunity to creatively re-use found objects. A large, permanently installed piece using natural light was commissioned for 'Art At The Arc' in Nottingham, while a series of four smaller light boxes were created for gallery exhibitions. As well as offering topographical conjecture, Daden's work also explores landscapes of the past. His cylindrical sculpture 'A Million Years Under the Sea' in Dudley, Birmingham, represents a selection of pre-historic sea creatures that once lived in that area, their fossilised remains now cast in resin. During the daytime, the natural light passes through the resin and illuminates it; at night the sculpture is lit from within. Identifying the imprints of ammonites and trilobites that existed 300 million years ago gives real context to the place where the sculpture is standing and also a sense of wonder at the vast periods of time stretching behind us. Daden started using resins while casting part of the landscape for his solo show 'Landmarks' at Crescent Arts in Scarborough in 2000. Sections of tidal patterns were cast directly in plaster and later in translucent coloured resin, creating abstract sculptural forms that reflect the essence of the natural environment. 'Beneath The Tide' evokes the beauty of the Yorkshire coast, focusing on a small but perfect detail - patterns in the sand formed by the ebbing tide - his transforming use of light and colour imitating ripples of sunlight within the water, bringing the living landscape into the gallery space. The obvious drawback to working with light is that application is limited in daylight hours. Yet light is so immediate, and draws us in like moths; it evokes beauty and simplicity. Like James Turrell and Olafur Eliason, who have made light their material and obsession, Daden depicts solidity in light as both mass and intangible substance, something we can see yet not touch, giving form to everything. Traditionally, artistic representations of light were rendered in paint; Light Artists today are using light itself to produce visual effects. Daden�s work is a study of how light informs our world and everything we see, and how by using light in fresh and distinctive ways it is possible to alter and recreate our perception of the physical environment and create landmarks of our own.