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108” x 19”. Mapped projection, acrylic on wood.
The canon of colour field painting has seen artists investigating formal properties of line, space, and properties such as hue, value and weight. Pairings of particular pigments create perceived vibrations. Scale that extends beyond the viewer’s peripheral perspective can also reinforce this perception of movement. Color field painting is often associated with Abstract Expressionism, though often the artist’s hand is barely visible. Though the paintings are not directly representational, their compartmentalized fields of color, which can be read from left to right or top to bottom, reference systems of organization that relate to human consumption of information.
My projected wall installations are an extrapolation of this interest in implications of color, light and space, all of which can imply specific representation. The video is mapped to conform to the composition of the planks. Some of the projection discretely runs through the vertical wall space in between the painted wood, while other spaces are mapped out, in order to deepen the play with depth perception. The projection moves at a speed that simulates the optical movement that occurs when looking at peripherally wide horizontal lines. The surface and the projection interact to form ephemeral compositions. It simultaneously references technology and the natural world. Other overlays simulate the effect of an eclipse.
The canon of colour field painting has seen artists investigating formal properties of line, space, and properties such as hue, value and weight. Pairings of particular pigments create perceived vibrations. Scale that extends beyond the viewer’s peripheral perspective can also reinforce this perception of movement. Color field painting is often associated with Abstract Expressionism, though often the artist’s hand is barely visible. Though the paintings are not directly representational, their compartmentalized fields of color, which can be read from left to right or top to bottom, reference systems of organization that relate to human consumption of information.
My projected wall installations are an extrapolation of this interest in implications of color, light and space, all of which can imply specific representation. The video is mapped to conform to the composition of the planks. Some of the projection discretely runs through the vertical wall space in between the painted wood, while other spaces are mapped out, in order to deepen the play with depth perception. The projection moves at a speed that simulates the optical movement that occurs when looking at peripherally wide horizontal lines. The surface and the projection interact to form ephemeral compositions. It simultaneously references technology and the natural world. Other overlays simulate the effect of an eclipse.