Colour In
Helio Oiticica noted that 'Colour is the first revelation of the world'.1 We see colour first above all else and react instantly and intuitively to it.
Colour can be used to create optical illusions that cause us to question our perception. It may elicit physical and emotional responses, is a cultural signifier and despite its intangible nature can be described according to physical attributes such as cool, warm, dark or light. The motives guiding the colour choices of the artists selected to participate in this exhibition are varied and illustrate colour’s potential to excite, surprise, delight and engage.
In his book Chromophobia, David Batchelor argues that colour has been the subject of extreme prejudice in Western culture, often dismissed as being decorative, feminine or queer.2
Contrary to Batchelor’s thought-provoking thesis this exhibition celebrates the use of colour in contemporary abstraction and acknowledges colour’s importance in the history of abstract art.
Hayley Scilini
1. Oiticica, cited in Ramirez, 2007, Helio Oiticica: The Body of Colour, p.18
2. Batchelor, D 2007, Chromophobia, p.22
Helio Oiticica noted that 'Colour is the first revelation of the world'.1 We see colour first above all else and react instantly and intuitively to it.
Colour can be used to create optical illusions that cause us to question our perception. It may elicit physical and emotional responses, is a cultural signifier and despite its intangible nature can be described according to physical attributes such as cool, warm, dark or light. The motives guiding the colour choices of the artists selected to participate in this exhibition are varied and illustrate colour’s potential to excite, surprise, delight and engage.
In his book Chromophobia, David Batchelor argues that colour has been the subject of extreme prejudice in Western culture, often dismissed as being decorative, feminine or queer.2
Contrary to Batchelor’s thought-provoking thesis this exhibition celebrates the use of colour in contemporary abstraction and acknowledges colour’s importance in the history of abstract art.
Hayley Scilini
1. Oiticica, cited in Ramirez, 2007, Helio Oiticica: The Body of Colour, p.18
2. Batchelor, D 2007, Chromophobia, p.22
Amanda Airs
Fallen, 2013 vinyl dimensions variable Louise Blyton
Long Loves Days 2012 pigment on linen 10 x 10in Beata Geyer
Relative Location: Colouring Space 2013 MDF, acrylic paint, casters dimensions variable Beata Geyer
Relative Location: Colouring Space 2013 MDF, acrylic paint, casters dimensions variable Ollie Lucas
Digital Landscapes 2013 digital video still 1 Ollie Lucas
Digital Landscapes 2013 digital video still 2 Ollie Lucas
Digital Landscapes 2013 digital video still 3 Susie Leahy Raleigh
Reflect Chilli Pepper Red 2013 ink on perspex 90 x 60cm Susie Leahy Raleigh
Reflect Magenta Pink 2013 ink on perspex 90 x 60cm Susie Leahy Raleigh
Reflect Red/Shadow Grey 2013 ink on perspex 90 x 60cm Hayley Scilini
Untitled (small works series) 2013 acrylic on canvas panel 10 x 10 cm (each) Merryn J Trevethan
Mortgage Meltdown 2013 acrylic on plexiglass 122 x 163 cm Tom Vincent
Plato's Group (Au-rumel) 2013 acrylic on linen 152 x 152cm Max Lawrence White
Untitled 3 (Infinite Potential) 2013 acrylic and enamel on wood 95 x 130 cm |