response to colour research
Tuesday, 1 October 2013
When working with colour, we tend to think about working with solid opaque areas of colour. Dense applications or sections of colour will work the same way that shapes work in creating spatial relationships. If two solid shapes of colour overlap one another, the top shape will appear to be in front of the other shape. This is the traditional concept of overlapping elements defining spatial relationships. However is the sector where two patches of colour overlap is transparent, then it is nearly impossible to tell which is in front of the other. This creates an arbitrary or ambiguous sense of space.
colour harmonies, colour ways, and colour schemes are all different terms for the same thing. the most closely associated colour way is an analogous colour scheme. these are colours that are directly next to each other in the colour wheel.
Vanishing boundaries, if two hues are very similar to each other in value and saturation, they will have a dramatic visual impact and interaction with each other.
Mark Rothko purposely created paintings that used the concept of vanishing boundaries as a key element in some of his work. To accompany my research i will be developing and experimenting with different mediums to recreate my version of colour theories.
Monday, 30 September 2013
Liz west | On Brown & Violet Grounds - piccadilly place manchester(Solo Exhibition)
"The fluorescent sticklight, a key material in West's new installations, is perhaps one of the most effective visual spatial devices. Aside from its obvious exuberant colours, its most striking feature is its stripped back materiality. West has modified each sticklight with a particular colour. This colour palette is reminiscent of the neon lights that were so prominent in the 1960s coinciding with the emergence of installation art. Through methodically mixing each tube in relationship to each other, West cultivates our perceptions, drawing on Albers practice based theory that colour can only be truly understood in relation to other colours and, crucially, our own knowledge of the colour spectrum. The raw exuberance of the sticklights becomes a catalyst to trigger a response: the viewer is needed to activate the work." - Jack Welsh, 2013
Sunday, 29 September 2013
Sunday, 15 September 2013
this is | cheltenham college residency
“It was wonderful to see the students become so fully involved during Victoria’s residency in trying out her approaches. The studio surfaces seemed to turn into one huge abstract inky mess! The students not only formed an understanding of how to mix and blend colour, but also the importance of controlled experimentation when handling new and exciting media.” - Juliet Wallace-Mason, head of art
see article: here
Saturday, 7 September 2013
this is | solo exhibition @ the white gallery, cheltenham
Presents a range of film, painting and photography exploring concepts of extraction and experimentation of colour from a landscape. Each image presents a emotion, as part of my research i asked an audience to present how the colours and movement in each of a section of images made them feel. This was an exhibition created for my residency at cheltenham school, i would invite the students to walk around the galleries and explain how a process, development and research is a crucial part of my practice. The aim of the residency was to help the students prepare themselves for their final major projects and to help them experiment with a range of materials and how to apply it into a range of mediums and using a range of media.
My residency takes place at the beginning of the term and the start of the exhibition from the 9th of september.
Friday, 30 August 2013
Wednesday, 14 August 2013
this is | james turrel
air mass, 1993
"i make spaces that apprehend light for our perception, and in some ways gather it, or seem to hold it... my work is more about your seeing than it is about my seeing, although it is a product of my seeing." - james turrel
james turrel has worked directly with light and space to create artworks that engage the viewers with the limits and wonder of human perception. Turrel, considers the sky as his studio, material and canvas. New Yorker critic Calvin Tompkins writes, "his work was not about light, or a record of light; it is light - the physical presence of light made manifest in sensory form."
Friday, 9 August 2013
from art to design
this article | beoplay A9 Nordic sky
this article | beoplay A9 Nordic sky
The long summer nights are unique to Scandinavia. At sunset the sun crawls just below the horizon, still keeping the sky elegantly lit and the nights long and intense.
But, summer is short. Keep the beauty and memory of it alive and let it influence you all year long with Nordic Sky.
From the sweet blue lights at twilight to the green darkness of dawn and all the way to the eerie redness of dusk, the three different editions of Nordic Sky lets you fashionize your BeoPlay A9 and change its appearance to match your mood.
Nordic Sky is available in three different editions: Dusk, Dawn and Twillight.
Read more: here