This piece started by thinking about color outside the pictorial space, the wall or scenery behind the piece. How would my previous pieces look if they were in a gallery… more critically, what would they look like if the gallery walls were not white but gray(ish). This thinking, especially about the non-white wall was influenced from my recent visit to the Bonnefantenmuseum.
I could easily simulate such a concept digitally in the computer but I decided to work in the analog world: I would create a set of miniature pieces in acrylic-on-canvas that would resemble my previous works and place them in a miniature gallery.
I created a set of four miniature pieces, then assembled them in various combinations on two “walls” that represented the corner of a gallery. In the end I selected just two of the miniatures pieces that juxtaposed orientation: one horizontal, the other portrait.
When I photographed the result I was fortunate to have natural daylight streaming in (something of a rarity in Luxembourg during April), and by rotating the assemblage I achieved some interesting shadows and reflections within.
An unusual pattern emerged in Acrylic 29.2 [the yellow and red piece]. The yellow color field has a slight saturation deficit that runs vertically down it. This was an accident. But it reminded me of an “echo” or a “disturbance” due to the dividing line. Perhaps this is an effect to pursue in future.
The effect of color on color in an interesting one. How the background influences a piece, etc. The work of Homage to the Square series by Josef Albers.comments powered by Disqus