The extension of the colour scale is a new step taken in 2015. Previously – going back to the 1980s – visual solutions were based on four colours. The four colours that constituted the image were usually complemented by white in order to enhance and accentuate the light in the image. The four colour values resulted in a system of relationships in which each colour had to establish its position vis-à-vis the other three. Correspondences of two against one or one against three, and thus the formation of very simple groups, arose. The groupings were controlled via the colour contrast. In this way two similar colours, by means of their closeness, formed a common position and thus exhibited common behaviour in relation to the other colours. Or, in the case of an adequate distance in contrast, the four colours adopted their own positions. The colour relationships and therefore the whole colour dynamic took place in a fourfold system. This colour economy gave life to the images, even if individual colours were split into two shades by means of slight nuancing. In 2015 this fourfold principle was abandoned in favour of a system of open relationships. Up to seven colours were selected for an image. This led to new opportunities for correspondences and weighting, a richer system of relationships and finally new experiences of coloration.
An equally new feature in 2015 is the line of separation that divides the body of the work into two zones. If this dividing line runs parallel to the ground, the effect of a horizon is created; if the line is vertical, it generates associations with a closed portal. The linear network of colour contours, interrupted by the dividing line, is continued in the neighbouring zone, with a slight shift and at a slight angle. The same colour cosmos dominates both zones. This leads to multiple ambivalence. The two zones are the same yet not the same. Each zone is a unity in itself, and at the same time the two zones together form a consistent whole. There are relationships immanent to the image and correspondences both within each zone and equally across its borders. The zones have the same spatial location, without the existence of an in-front or a behind. Nevertheless they enter into an irrational spatial relationship. All in all, the dividing line increases the degree of visual magic.
Acrylic on canvas
100 x 80 cm
Acrylic on canvas
100 x 80 cm
