In the four-block radius where he painted and drank himself into frightening stupors, Noel Rockmore was known by the denizens of the French Quarter as an outrageous Pablo Picasso-like figure who combined the mythological and the real. He produced some 15,000 oil paintings, temperas, collages and sketches over his career and then died in obscurity.
His life was that of an American outsider and a throwback to Europe's great expressionistic and hedonistic masters.
In the 1950s, when he was still in his 20s, his paintings hung in the Metropolitan Museum of Art, the Museum of Modern Art and the Hirshhorn Museum. He was a bright young American artist who had a taste for Rembrandt and figurative paintings, with the outlook of an American social realist.
Then, the art world changed: Abstract expressionism — typified by the paint throwing of Jackson Pollock — became the rave. Rockmore, who admired draftsmanship in painting, detested it.
Rockmore changed: He left his wife and three children, changed his last name and headed to New Orleans in 1959, where he would eventually get lost to the New York art world.
The story of Noel Montgomery Davis (his real name) is getting a long-overdue audience outside New Orleans, a city that is enjoying something of an art renaissance itself six years after Hurricane Katrina. From now until the end of January, his works are on view at the LaGrange Art Museum in Georgia. The retrospective is called "Creative Obscurity: The Genius Noel Rockmore."
"He was kind of an art hobo," said Ethyl Ault, interim director of the LaGrange Art Museum.
She said Rockmore was an overlooked genius. "Was it politics? Did he offend people? Why was he so popular in New York when he was younger, and then he leaves, changes his name and then goes on into his fairy tale land?"
The show is based on nearly 1,500 Rockmore artworks retrieved from storage units in the wake of Hurricane Katrina. For 25 years, Shirley Marvin, an octogenarian Baton Rouge patron, had been saving Rockmore artworks and memorabilia with the intention of making him famous one day.
But she had forgotten about the collection due to short-term memory loss, her family said. Marvin was one of Rockmore's most devoted fans. She saw genius in him — like many others in New Orleans. The extraordinary collection was gathering dust when her son, Rich Marvin, took her down to New Orleans in October 2006, a year after Katrina, to get "a few paintings," as her mother described it. Instead, they found the units packed with remnants of Rockmore's life.
"At first we thought my mom was crazy," Rich Marvin said. "When a museum or gallery lines up his top 200 exquisite works, people will be as stunned as we are."
Rockmore was born in 1928 in New York to a family of artists. He was supertalented. A child prodigy, he played the violin well by age 8. After suffering polio at age 10, he turned to painting. He studied briefly at The Juilliard School and had a studio at the Cooper Union. Family friends included Ernest Hemingway, George Gershwin and Thomas Mann.
His 20s were prolific as he painted the bums of the Bowery district, monkeys and elephants in the backstage of the Ringling Brothers Circus and parables of Central Park and Coney Island. He was a social realist, akin to Depression-era American painters such as John Steuart Curry, but these early works contained themes and artistic styles that would stay with him: death, violence, sex, the surreal and the allegorical.
In retrospect, it was the ghoulish and morbid in Rockmore that defined him, making him a kind of American Hieronymus Bosch.
In the 1950s, Rockmore became fed up with the wave of abstract expressionists then taking hold of New York — the flat tones and humanless canvases of Willem De Kooning, Pollock, Mark Rothko and Barnett Newman. During this period he drank heavily and his wife kicked him out because of his wildness, his daughter, Emilie Heller-Rhys, said.
At age 31, he moved down to New Orleans and began working with Larry Borenstein, an art collector, and Allan Jaffe, a business school graduate and tuba player. In the 1960s, Borenstein employed Rockmore as a kind of resident painter for a new society he'd formed with Jaffe to preserve traditional New Orleans jazz music. The society would become Preservation Hall.
Rockmore was commissioned to paint the old-time musicians. He captured the mood, scent, touch and smoke of New Orleans jazz and its musicians — Punch Miller, Percy Humphrey, Louis Nelson, Sweet Emma and Billie and DeDe Pierce, and scores of others.
His output was staggering. He'd become fixated by a subject — New Orleans' Carnival traditions, the frenetic Port of New Orleans, the characters of the French Quarter, alien beings, ancient Egypt, voodoo — and mined it artistically.
2011年12月29日星期四
2011年12月21日星期三
Rossana waits 57 years for exhibition
More than half a century after she was given her first set of oil paints, Rossana Kendall launches an exhibition in Chichester on the back of her studies.
“I have waited 57 years to do this degree and to do oil painting all the time,” says Rossana who is offering a collection of paintings and prints at the Oxmarket Centre of Arts (until December 23).
Rossana lives in Kent, but Chichester is a place with long resonance for her, and she was delighted to discover the opportunities the Oxmarket offers.
“My mother gave me my first set of oil paints when I was seven, and I can still remember the little vase and candlestick which were the subject of my first painting. It was a shock that the painting did not exactly replicate what was there in front of me, as I had intended.
“Over half a century later, on retiring, I started a fine arts degree and am now doing the fourth of six years at The University for the Creative Arts at Canterbury. We are expected to be up to date with contemporary art, so it’s an eye-opener and great fun. It’s exciting to experiment with doing completely new things, with new ways of doing old things and new tools to do them with.
“The prints and the paintings in this exhibition are a product of the learning and experimentation.
“Still, I’m a romantic, and believe in the importance of nature and of beauty. It seems to me that a good piece of art can make the rest of the world seem more alive, like 3D specs that bring everything to life and to colour. It can depict the world of ideal forms from which everyday reality is made.
“Many of these works are to do with nature, and a nature that is luminous, almost alive, just as Wordsworth felt it to be, so that natural scenes chimed with some of his deepest thoughts and emotions. Sometimes a landscape seems almost to be speaking. The challenge is to get that across through shape and colour in a way that is true to what nature and landscape mean to me.”
“I have waited 57 years to do this degree and to do oil painting all the time,” says Rossana who is offering a collection of paintings and prints at the Oxmarket Centre of Arts (until December 23).
Rossana lives in Kent, but Chichester is a place with long resonance for her, and she was delighted to discover the opportunities the Oxmarket offers.
“My mother gave me my first set of oil paints when I was seven, and I can still remember the little vase and candlestick which were the subject of my first painting. It was a shock that the painting did not exactly replicate what was there in front of me, as I had intended.
“Over half a century later, on retiring, I started a fine arts degree and am now doing the fourth of six years at The University for the Creative Arts at Canterbury. We are expected to be up to date with contemporary art, so it’s an eye-opener and great fun. It’s exciting to experiment with doing completely new things, with new ways of doing old things and new tools to do them with.
“The prints and the paintings in this exhibition are a product of the learning and experimentation.
“Still, I’m a romantic, and believe in the importance of nature and of beauty. It seems to me that a good piece of art can make the rest of the world seem more alive, like 3D specs that bring everything to life and to colour. It can depict the world of ideal forms from which everyday reality is made.
“Many of these works are to do with nature, and a nature that is luminous, almost alive, just as Wordsworth felt it to be, so that natural scenes chimed with some of his deepest thoughts and emotions. Sometimes a landscape seems almost to be speaking. The challenge is to get that across through shape and colour in a way that is true to what nature and landscape mean to me.”
2011年11月17日星期四
A wonderful ‘pARTner-ship’
By pairing emerging artists with established artists, a unique exhibit has been created that will find a home in the Woodstock Art Gallery for the next eight weeks.
This year marks the 140th anniversary of the Ontario Society of Artists (OSA), and to celebrate this monumental year, a partnership between the Woodstock gallery and the society emerged.
"Both have a mandate, the art gallery and the society, to try to encourage and assist new graduates," OSA member Cathy Groulx said. "We want to help so they don't have to float along and try to make their way in the world on their own."
Maria Ricker, curator of the gallery, approached OSA to see if a partnership could be developed several years ago.
And it finally has. In fact, the name of the show is pARTners.
Eleven established artists, like Groulx, who is an oil painter, were partnered with 11 recent art program graduates from across the province.
"We work with new art graduates to help mentor them and answer questions they might have and they show us new skills," Groulx said.
For about three months Groulx and her partner, Laura Bydlowska, a Woodstock native living in Toronto, worked together to develop their collaborative piece.
Each artist submits a piece of their own. For Groulx, it will be an oil painting, and for Bydlowska, she will submit a print she etched. Then the two artists work together to create something.
"Totally different way of working for me. It's exciting. The graduates come with such vibrancy and enthusiasm and we get to learn a new art form," she said.
A larger friendship has blossomed between Groulx and Bydlowska. Groulx helped the emerging artist get her first commercial show venue, which resulted in the sale of her work. Groulx also helped Byldowska find a spot in a show last spring in Ingersoll and the two have even talked about business cards.
"I had nothing – no help when I started. So it's totally different. I enjoy helping. It's tricky getting your foot in the door," she said.
This year marks the 140th anniversary of the Ontario Society of Artists (OSA), and to celebrate this monumental year, a partnership between the Woodstock gallery and the society emerged.
"Both have a mandate, the art gallery and the society, to try to encourage and assist new graduates," OSA member Cathy Groulx said. "We want to help so they don't have to float along and try to make their way in the world on their own."
Maria Ricker, curator of the gallery, approached OSA to see if a partnership could be developed several years ago.
And it finally has. In fact, the name of the show is pARTners.
Eleven established artists, like Groulx, who is an oil painter, were partnered with 11 recent art program graduates from across the province.
"We work with new art graduates to help mentor them and answer questions they might have and they show us new skills," Groulx said.
For about three months Groulx and her partner, Laura Bydlowska, a Woodstock native living in Toronto, worked together to develop their collaborative piece.
Each artist submits a piece of their own. For Groulx, it will be an oil painting, and for Bydlowska, she will submit a print she etched. Then the two artists work together to create something.
"Totally different way of working for me. It's exciting. The graduates come with such vibrancy and enthusiasm and we get to learn a new art form," she said.
A larger friendship has blossomed between Groulx and Bydlowska. Groulx helped the emerging artist get her first commercial show venue, which resulted in the sale of her work. Groulx also helped Byldowska find a spot in a show last spring in Ingersoll and the two have even talked about business cards.
"I had nothing – no help when I started. So it's totally different. I enjoy helping. It's tricky getting your foot in the door," she said.
2011年11月3日星期四
‘Cellini’ & Abe painting to stay in Springfield Lincoln museum
Convicted power broker Bill Cellini undoubtedly whispered in the ear of many a politician during his era of influence in state politics, but none is more famous than Abraham Lincoln.
An uncanny likeness of Cellini is pictured alongside the 16th president in an oil painting at the Abraham Lincoln Presidential Library and Museum, and the painting is going to remain hanging despite Cellini’s corruption convictions Tuesday, the museum said Wednesday.
“It’ll stay,” museum spokesman Dave Blanchette said.
Cellini is wearing a black suit and peering over Lincoln’s shoulder while the president sits in a chair and inspects votal totals from the 1864 election. Cellini is gesturing in the painting, as if to make a point to Lincoln.
“The artist never officially told us who the people he used for models in the picture are, so we don’t have confirmation from the person who knows whether that’s him or not,” Blanchette said when asked the rationale behind keeping the painting.
“And second, there’s no reason to change anything in the museum. It’s great the way it is. It’s almost 3 million people who have been through, and it’s the world’s most popular presidential museum. We think everything was done right in the museum.”
State lawmakers took an entirely different tack with convicted ex-Gov. Rod Blagojevich, passing a law last year that barred the expenditure of any state funds on any oil painting of the impeached ex-governor.
That law effectively barred Blagojevich’s likeness from being hung in the state Capitol’s Hall of Governors, where an oil painting of every chief executive except him is hanging.
An uncanny likeness of Cellini is pictured alongside the 16th president in an oil painting at the Abraham Lincoln Presidential Library and Museum, and the painting is going to remain hanging despite Cellini’s corruption convictions Tuesday, the museum said Wednesday.
“It’ll stay,” museum spokesman Dave Blanchette said.
Cellini is wearing a black suit and peering over Lincoln’s shoulder while the president sits in a chair and inspects votal totals from the 1864 election. Cellini is gesturing in the painting, as if to make a point to Lincoln.
“The artist never officially told us who the people he used for models in the picture are, so we don’t have confirmation from the person who knows whether that’s him or not,” Blanchette said when asked the rationale behind keeping the painting.
“And second, there’s no reason to change anything in the museum. It’s great the way it is. It’s almost 3 million people who have been through, and it’s the world’s most popular presidential museum. We think everything was done right in the museum.”
State lawmakers took an entirely different tack with convicted ex-Gov. Rod Blagojevich, passing a law last year that barred the expenditure of any state funds on any oil painting of the impeached ex-governor.
That law effectively barred Blagojevich’s likeness from being hung in the state Capitol’s Hall of Governors, where an oil painting of every chief executive except him is hanging.
2011年10月30日星期日
Oil painter's scenes displayed in bold strokes
There’s impressionism, and expressionism, but people really should talk about “juicyism,” because that’s what works for Chris Kappmeier.
Kappmeier grew up in Jersey City and now lives in Lyndhurst, in a painting-stuffed house (canvasses along the walls, the stairs, under the furniture) with a kitchen floor covered in oil paint drips.
Recently he went back to work driving a delivery truck in Manhattan — there are a number of angry blobs depicting New York City traffic in his new show, “Bold Strokes,” at the Morris Museum — but manipulating thick pools of translucent oils beneath thin spools of threadlike color is his real vocation.
“He looks much younger than he is,” associate curator Angela Sergonis says of the stocky, tattooed, buzz-cut and 40-ish Kappmeier, who does all his work on-site, with his subject before him and the plein-air whistling about his ears. That helps give the work its immediacy. Because painting the way Kappmeier paints is not about finding the right detail, or the subtle color shift in light from shadow to darkness. It’s not about referencing other artworks, either, though he has kept a paint box with a Vincent Van Gogh self-portrait taped to the top.
It’s about relating to a scene right in front of him, and reproducing it in quick, thick layers.
You can see what we mean in “Arthur’s Steakhouse Hoboken” (2007) or “Washington & 4th, Hoboken” (2010): Kappmeier has set up his easel across the street, framed the picture between a strip of cloud-flecked sky at the very top and the dark asphalt lined with lumpy cars at the bottom, and just quickly lays in swatches of paint through the middle of it all.
He lays down slabs of paint, then takes the end of his brush and traces through the lines of brickwork or cast-iron railing that emphasize the perspective. When it hums, the picture rhymes with reality as if it had been seen through an uneven, distorting lens, the trees and buildings flickering as if in a flame.
Kappmeier paints so thickly at times that you wonder if dusting the pictures could be a problem. Flowers stand out in relief a quarter-inch deep, and those wonderful cars he paints, their automobile patinas made of lozenges of paint squeezed directly out of the tube, sometimes look like shelves on the canvas.
The best paintings — “NYC Skyline: View From the Meadowlands, Conservation Center” (2006), “Hoboken Taxi Stand” (2010) and “Brooklyn Bridge, Rainy Night” (2010) — take the speed and crash it into the moment. There’s a banana-shaped egret standing like a half-finished ghost in “Skyline,” and the conga line of taxis in “Hoboken” seem to shimmer, as if their engines were all running. You’re supposed to feel them, not see them.
Van Gogh and expressionism do hover somewhere above and behind Kappmeier’s work, but there’s another ghost in it too — that of one-time art star of the ’80s Chuck Connelly. Connelly has some of Kappmeier’s determination to make a picture out of anything — you could sit either man down in front of a view, no matter how unpromising, and they would charge in painting and ultimately find the picture there. Beset by righteous independence (and a certain fondness for alcohol), Connelly has burned more bridges than Kappmeier has even crossed, but the older artist is a juicy painter too, a lover of oil paint laid on thick as plaster, creamier than cake frosting.
Juiciness will be with us as long as oils because the medium is a kind of tiny lens, the illusion of depths it is capable of reproducing imitated by the stuff itself. But mentioning Connelly in this context is both revealing and a red flag. The abandon with which Kappmeier pursues the feel of a picture seems wholly male — no doubt there are women who paint very thickly, but the headlong rush into notional space, reckless and almost blind, that marks Kappmeier’s art feels like force, not sensation.
Kappmeier grew up in Jersey City and now lives in Lyndhurst, in a painting-stuffed house (canvasses along the walls, the stairs, under the furniture) with a kitchen floor covered in oil paint drips.
Recently he went back to work driving a delivery truck in Manhattan — there are a number of angry blobs depicting New York City traffic in his new show, “Bold Strokes,” at the Morris Museum — but manipulating thick pools of translucent oils beneath thin spools of threadlike color is his real vocation.
“He looks much younger than he is,” associate curator Angela Sergonis says of the stocky, tattooed, buzz-cut and 40-ish Kappmeier, who does all his work on-site, with his subject before him and the plein-air whistling about his ears. That helps give the work its immediacy. Because painting the way Kappmeier paints is not about finding the right detail, or the subtle color shift in light from shadow to darkness. It’s not about referencing other artworks, either, though he has kept a paint box with a Vincent Van Gogh self-portrait taped to the top.
It’s about relating to a scene right in front of him, and reproducing it in quick, thick layers.
You can see what we mean in “Arthur’s Steakhouse Hoboken” (2007) or “Washington & 4th, Hoboken” (2010): Kappmeier has set up his easel across the street, framed the picture between a strip of cloud-flecked sky at the very top and the dark asphalt lined with lumpy cars at the bottom, and just quickly lays in swatches of paint through the middle of it all.
He lays down slabs of paint, then takes the end of his brush and traces through the lines of brickwork or cast-iron railing that emphasize the perspective. When it hums, the picture rhymes with reality as if it had been seen through an uneven, distorting lens, the trees and buildings flickering as if in a flame.
Kappmeier paints so thickly at times that you wonder if dusting the pictures could be a problem. Flowers stand out in relief a quarter-inch deep, and those wonderful cars he paints, their automobile patinas made of lozenges of paint squeezed directly out of the tube, sometimes look like shelves on the canvas.
The best paintings — “NYC Skyline: View From the Meadowlands, Conservation Center” (2006), “Hoboken Taxi Stand” (2010) and “Brooklyn Bridge, Rainy Night” (2010) — take the speed and crash it into the moment. There’s a banana-shaped egret standing like a half-finished ghost in “Skyline,” and the conga line of taxis in “Hoboken” seem to shimmer, as if their engines were all running. You’re supposed to feel them, not see them.
Van Gogh and expressionism do hover somewhere above and behind Kappmeier’s work, but there’s another ghost in it too — that of one-time art star of the ’80s Chuck Connelly. Connelly has some of Kappmeier’s determination to make a picture out of anything — you could sit either man down in front of a view, no matter how unpromising, and they would charge in painting and ultimately find the picture there. Beset by righteous independence (and a certain fondness for alcohol), Connelly has burned more bridges than Kappmeier has even crossed, but the older artist is a juicy painter too, a lover of oil paint laid on thick as plaster, creamier than cake frosting.
Juiciness will be with us as long as oils because the medium is a kind of tiny lens, the illusion of depths it is capable of reproducing imitated by the stuff itself. But mentioning Connelly in this context is both revealing and a red flag. The abandon with which Kappmeier pursues the feel of a picture seems wholly male — no doubt there are women who paint very thickly, but the headlong rush into notional space, reckless and almost blind, that marks Kappmeier’s art feels like force, not sensation.
2011年3月27日星期日
The Apple of Solar Energy? Enphase Applies Silicon Valley Smarts to Solar's Neglected Plumbing
When the sun shines, free electrons pour out of rooftop solar panels in the form of direct current (DC). But every light bulb, fan, and appliance in a house needs alternating current (AC), which reverses direction 60 times per second. And therein lies a huge headache for installers and owners of photovoltaic systems. The central "inverters" that turn solar DC into grid-compatible AC are among the most finicky and failure-prone parts of any solar installation. When they burn out, they put entire solar installations out of commission until they can be replaced, usually at a cost of several thousand dollars. Yet while solar panel manufacturers continue to invest in R&D to make photovoltaic cells more efficient, the old inverter box hasn't changed much in decades.
Until recently, that is. Befitting the Silicon Valley spirit, there's a Bay Area startup that's out to replace the big, dumb inverters attached to most solar energy systems with small, sleek, smart "microinverters." It's called Enphase Energy, and under its approach, each panel or module gets its own inverter. It's sort of like putting out lots of small bowls to catch the water from a leaky ceiling rather than running around with a single big pail.
Enphase's microinverters are full of custom microelectronics, so they cost more than traditional inverters. But the five-year-old startup in Petaluma, CA, which has raised about $100 million in venture capital, says the devices are more reliable than central inverters and can help harvest more energy from solar installations. Plus, they're easier for installers to work with, and they emit a constant stream of data that lets owners track performance down to the level of an individual panel. That gives the company an advantage that can be likened to Apple's emerging lead in the mobile computing market. And, as in the Apple case, Enphase's systems thinking and marketing savvy could end up helping it grab a huge share of a market that nobody else thought was ripe for disruption.
Traditionally, says Enphase CEO Paul Nahi, the larger the inverter, the less power is lost during conversion from DC to AC, which long pushed solar installers toward wiring panels in series and converting all the power at once—an average of 4.5 kilowatts per residential installation. "When you're dealing with that much wattage, you stress components," Nahi told me when I visited the company's headquarters a few weeks ago. "You generate a lot of heat in the central inverter, and heat is the single biggest enemy of reliability. But it had been drilled into [solar installers] that this is the way solar works. It never occurred to anybody that you didn't have to have that problem. And the technological leap required to solve that problem was so dramatic that it was never even discussed."
Enphase's achievement has been figuring out how to use sophisticated electronics to efficiently convert as little as 200 watts at a time—-the output of a single panel. That might mean using 20 or more microinverters in the place of a single central inverter, but the payoff comes in the form of productivity. If you wire panels the old-fashioned way—in series, like Christmas tree lights—it means that an entire array's output can only be as high as the lowest-performing panel. If one panel is dirty or shaded by trees, the whole array's output is lowered to the level of that panel. With microinverters, by contrast, each panel feeds power into the system independently, at maximum efficiency for its light conditions. "Greater energy harvest is the essential benefit," Nahi says.
Until recently, that is. Befitting the Silicon Valley spirit, there's a Bay Area startup that's out to replace the big, dumb inverters attached to most solar energy systems with small, sleek, smart "microinverters." It's called Enphase Energy, and under its approach, each panel or module gets its own inverter. It's sort of like putting out lots of small bowls to catch the water from a leaky ceiling rather than running around with a single big pail.
Enphase's microinverters are full of custom microelectronics, so they cost more than traditional inverters. But the five-year-old startup in Petaluma, CA, which has raised about $100 million in venture capital, says the devices are more reliable than central inverters and can help harvest more energy from solar installations. Plus, they're easier for installers to work with, and they emit a constant stream of data that lets owners track performance down to the level of an individual panel. That gives the company an advantage that can be likened to Apple's emerging lead in the mobile computing market. And, as in the Apple case, Enphase's systems thinking and marketing savvy could end up helping it grab a huge share of a market that nobody else thought was ripe for disruption.
Traditionally, says Enphase CEO Paul Nahi, the larger the inverter, the less power is lost during conversion from DC to AC, which long pushed solar installers toward wiring panels in series and converting all the power at once—an average of 4.5 kilowatts per residential installation. "When you're dealing with that much wattage, you stress components," Nahi told me when I visited the company's headquarters a few weeks ago. "You generate a lot of heat in the central inverter, and heat is the single biggest enemy of reliability. But it had been drilled into [solar installers] that this is the way solar works. It never occurred to anybody that you didn't have to have that problem. And the technological leap required to solve that problem was so dramatic that it was never even discussed."
Enphase's achievement has been figuring out how to use sophisticated electronics to efficiently convert as little as 200 watts at a time—-the output of a single panel. That might mean using 20 or more microinverters in the place of a single central inverter, but the payoff comes in the form of productivity. If you wire panels the old-fashioned way—in series, like Christmas tree lights—it means that an entire array's output can only be as high as the lowest-performing panel. If one panel is dirty or shaded by trees, the whole array's output is lowered to the level of that panel. With microinverters, by contrast, each panel feeds power into the system independently, at maximum efficiency for its light conditions. "Greater energy harvest is the essential benefit," Nahi says.
2011年3月9日星期三
Enecsys offers 360W dual micro-inverter that maintains individual MPPT
Enecsys has launched the ‘Enecsys Duo micro-inverter,' claiming it is the world's highest power density micro-inverter with dimensions of 262 x 160 x 35mm. Designated the SMI-D360W-72, it is designed to reduce system costs whilst supporting fully independent power point tracking of two connected photovoltaic modules.
Problem
When adopting the Enecsys micro-inverter solar PV architecture, systems do not suffer from dramatic reductions in output when modules are mismatched or when one PV module, or part of a module, suffers from lower output due to shading caused by trees, chimneys or debris on its surface. These are some of the most significant problems in conventional systems employing string inverters.
Solution
The DC power generated by the two modules is converted into a single, grid-compliant AC output in the Enecsys Duo. System layout and planning is simplified and installation time and costs are reduced because only half the number of micro-inverters is needed for each system. Solar PV systems using the Enecsys Duo will have comparable capital costs to those using string inverters but are claimed to deliver 5% to 20% more energy. The degree of improvement in energy harvest depends on the installation configuration and the operating environment. Solar modules connected to the Enecsys Duo do not need to be matched or be located on the same plane. They can be oriented in different directions to maximize usable roof space without impacting overall system performance.
Applications
Residential and small-scale industrial PV module installations.
Platform
The Enecsys Duo micro-inverter has 95% peak efficiency and 93% Euro efficiency. The Enecsys Duo micro-inverter is based on the same patented technology employed in other Enecsys micro-inverters and maintains full performance from -40 degrees C to +85 degrees C. Reliability has been verified using HALT, HASS and accelerated life tests to IEC61215, the same methodology used to test solar PV modules. The Enecsys Duo comes with a 20-year limited warranty.
Availability
The relevant agency approvals for the Enecsys Duo micro-inverter are expected during March 2011 at which time the products will be available in Europe.
Problem
When adopting the Enecsys micro-inverter solar PV architecture, systems do not suffer from dramatic reductions in output when modules are mismatched or when one PV module, or part of a module, suffers from lower output due to shading caused by trees, chimneys or debris on its surface. These are some of the most significant problems in conventional systems employing string inverters.
Solution
The DC power generated by the two modules is converted into a single, grid-compliant AC output in the Enecsys Duo. System layout and planning is simplified and installation time and costs are reduced because only half the number of micro-inverters is needed for each system. Solar PV systems using the Enecsys Duo will have comparable capital costs to those using string inverters but are claimed to deliver 5% to 20% more energy. The degree of improvement in energy harvest depends on the installation configuration and the operating environment. Solar modules connected to the Enecsys Duo do not need to be matched or be located on the same plane. They can be oriented in different directions to maximize usable roof space without impacting overall system performance.
Applications
Residential and small-scale industrial PV module installations.
Platform
The Enecsys Duo micro-inverter has 95% peak efficiency and 93% Euro efficiency. The Enecsys Duo micro-inverter is based on the same patented technology employed in other Enecsys micro-inverters and maintains full performance from -40 degrees C to +85 degrees C. Reliability has been verified using HALT, HASS and accelerated life tests to IEC61215, the same methodology used to test solar PV modules. The Enecsys Duo comes with a 20-year limited warranty.
Availability
The relevant agency approvals for the Enecsys Duo micro-inverter are expected during March 2011 at which time the products will be available in Europe.
2011年3月3日星期四
Enphase Energy Expands To Europe With Two New Offices
Enphase Energy, a provider of solar micro-inverter systems, has appointed two country
managers and opened new offices in France and Italy to service global demand for its
micro-inverter system.
Enphase says it is expanding to Europe to capture a growing share of the worldwide
inverter market. Micro-inverters are expected to grow dramatically in Europe, and
Enphase is currently positioned to receive the CE and VDE mark for its products.
Olivier Jacques has been appointed managing director of Enphase Energy France and will
be responsible for implementing the company's regional strategy in addition to
developing the local distribution channel and support team. Prior to his work at
Enphase, he was country manager at Danfoss and managing director at Solar Total
France, a solar contractor.
Roberto Colombo has been hired as managing director of Enphase Energy Italy and will
also be responsible for regional strategy and channel development. Colombo previously
served as sales director for southern Europe at Korber Schleifring Italy.
managers and opened new offices in France and Italy to service global demand for its
micro-inverter system.
Enphase says it is expanding to Europe to capture a growing share of the worldwide
inverter market. Micro-inverters are expected to grow dramatically in Europe, and
Enphase is currently positioned to receive the CE and VDE mark for its products.
Olivier Jacques has been appointed managing director of Enphase Energy France and will
be responsible for implementing the company's regional strategy in addition to
developing the local distribution channel and support team. Prior to his work at
Enphase, he was country manager at Danfoss and managing director at Solar Total
France, a solar contractor.
Roberto Colombo has been hired as managing director of Enphase Energy Italy and will
also be responsible for regional strategy and channel development. Colombo previously
served as sales director for southern Europe at Korber Schleifring Italy.
订阅：
博文 (Atom)