Withth two kilometres’ worth of white neon tubing arranged in dazzling arrays of lines and curves high above the Duveen Galleries’ polished floors, Forms in Space… by Light (in Time), Cerith Wyn Evans’s installation for this year’s Tate Britain Commission (of which Sotheby’s is a sponsor) cannot be mistaken for another artist’s work. Born in 1958 in Llanelli, Wales, and now based in London, Wyn Evans has long grappled with light, whether it be a young filmmaker or as a mature artist beaming Morse coding of Welsh literature into the night sky at the 2003 Venice Biennale. He is also participating in this year’s edition of the Biennale, curated by Christine Macel, showing his film Pasolini Ostia Remix, 1998–2003. On an all-out quest for meaning and connection, Wyn Evans interrogates everything from art history and philosophy to musical scores and celestial bodies, translating his findings and visions into such forms as the muticoloured Murano glass chandelier Astrophotography…The Traditional Measure of Photographic Speed in Astronomy…’ by Siegfried Marx (1987), (2006), which flashes his personal literary canon in code. Days before the Tate Commission’s unveiling, Tony Guillan sat down with Wyn Evans to discuss his life, his work and the cosmos.