Project 4.5: Colour

Colours & Names

George Szirties  listed in one section of his ‘Bad Machine’ – ‘Colours’ all sort of poetic names for colors, often related to flowers, natural situations, feelings, or attitudes.  I feel reminded of Serra’ verb list as transitive verbs for acting on materials, to transform. However, Szirties’ list is more a description without intention, rather psychological than physical. 

Amy Sillman describes in ‘On Color’ (Graw, I. and Lajer-Burcharth, E., 2016:103-116) her experience in art college and how they worked with color and paint. At times, reminding me of addiction but also passion to learn, to dive into the material.  She describes, how she was able to distinguish, to differentiate, and to identify – by senses as touch and smell, more than just sight. What reminds me of my own experience with color and paint. I do like natural or anorganic pigments more than chemical ones, especially I prefer ultramarine instead of phtalo blues, the latter staining too much with the effect that my hand stay blueish longer (as I ‘have to’ put my hands, my skin into the material, certainly to be careful about..) And with time, I got  to know how to mix certain colors easily, or what and how to use some paint material in order to get an effect (e.g. peeling of effect with acrylic on plastic). 

Both describe an intimacy, a ‘complicity’ as Petra Lange-Berndt described it, with material perception. The more one digs into , the more one knows about it. True for all kind of areas. Overall, colors to have an impact on human beings and the way we perceive and relate to the world around us.

This intimacy could also be a danger, or a risk – to know too much could mean to rely too much on learned patterns. To unlearn continuously, to see the making each time afresh and with ‘wonder’ could open more creative ways to find out new knowledge. This is one thing that I took away from the study day on London on Thinking Through Art. To use new, uncommon materials could free up the mind, and to explore more curiously.

 


Image:

  • Featured image work from project 5, SJSchaffeld

Reference:

  • Graw, I. and Lajer-Burcharth, E. (2016) Painting beyond Itself  The Medium in the Post-Medium Condition. Edited by Graw, I., Birnbaum, D. and Institut fuer Kunstkritik Frankfurt am Main. Berlin: Sternberg Press.
  • Szirtes, G. (2013) Bad Machine, Northumberland: Bloodaxe Books, p.10., At: https://www.scribd.com/read/353203926/Bad-Machine (accessed 10 May 2019)

 

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