Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/33726
Ever since Sir Isaac Newton made giant leaps in color science with his theory on primary colors, people and scientists alike have been intrigued by the power of colors and what different meanings they bring to our culture, heritage and daily lives.
Johann Wolfgang von Goethe’s “Theory on Colour” took it a step further and broke with Newton and Romanticism, which Goethe had originally been part of.
Later Joseph Albers spearheaded the Bauhaus school with the likes of Wassily Kandinski and Paul Klee. By his interest in how one color can affect another color Albers revolutionized how we are able to see colors, and how color can trick the viewer’s brain into thinking it is a different color or just a different hue than the original color really is.
By making color tests he would come to the conclusion that color can affect color, and that color can change in the viewer’s eyes, all depending on what color chart was shown. An artist myself I know how working with paint and blending colors can be a struggle. I have therefore become especially intrigued by Albers’ theory on how one color can affect another in the onlooker’s perception. I would like to show how diverse one color can be. And by narrowing it down to the color green I’m able to refer to three different artworks. The first is my own, the second is one of Edvard Munch’s famous paintings, and the third is an outdoor installation by Ólafur Eliasson.
To narrow it down it’s important for the viewer to get a firm understanding of what color really is capable of, and not just take it for granted or as a one dimensional flat surface, but more as a flexible interchanging entity.
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