PROJECT 6: COLOUR RELATIONSHIPS

READ: 

• Schwabsky, B. - A Benjaminian View on Colour. (Week 7 Project 5)
  
• Jim Saw,  - Describing Colour.
  
• Virtual Art Academy

Brief
The following exercises will allow you to observe the interdependency between quantity and quality of colour. This will also be taken into the context of your every day environment.

Summary of Artists
There is an enormous range of artists who focus on colour and colour relationships as a part of their painting practice.
Listed are a few for you to research:
Gabrielle Evertz,
Katherina Grosse,
Karin Sander,
Torie Begg,
Beatriz Milhazes,
Franz Ackermann and
Ugo Rondinone.

Before commencing the following exercises have a look at the following articles that look at technical applications to colour and the application of colour within space.

Web-based Research

• Torie Begg:

• Larry Poons:

Reader

• Wilcox, M. Blue and Yellow Don’t Make Green.
• Ryan, D. Transverse Spaces.

-Blackboard Learning Resource
Shared Art Files>Art Image Database>VSW14

• Adrian Schiess

• Ian Davenport

Ian Davenport, Puddle Painting: Magenta, 
2009, acrylic paint on stainless steel, mounted on aluminum panel , 98 1/2 x 98 1/2 inches 250.2 x 250.2 cm
© Ian Davenport

EXERCISE 1
Requirements
• Variety of colours (acrylics).
• Water.
• Brushes.
• Palette (large and preferably white) that allows plenty of room for colour mixing.
The focus of this exercise is to work within your own environment to create a new tension ordynamic using colour. First you need to select an area from your immediate surroundings. It may be a corner of a room, part of a wall, a garden gate, the ceiling or part of a door-frame. In your selected space choose a colour that you will paint into that area to give it a new visual dynamic.
Document your work once you have completed this colour intervention.
Things to consider
1. Before commencing, consider what effect you want your added colour to achieve within this space. Think creatively.
2. Do you want this colour to work in a way that compliments the surrounds or will add contrast?
3. Will you add a subtle tonal shift or juxtapose complimentary colours?
4. If you are unable to work directly onto a surface in your immediate environment consider working with a support that can be placed within the area you are interested in.
5. You are not making a painting for the wall; the space/wall or other surface is the painting so to speak.
6. This exercise is not about painting a mural, try not to become figurative in your approach to this exercise.