Still from Synchronicity I 2014 S. Video, 8 minutes.
This film work explores additive colour. As a painter I use subtractive
colour, that is colour that exists in a tangible form (pigment) and relates to
our experience of the natural world in that colour defines a surface. There are
only two additive colours in the natural world; the sky and the colour we see
when our eyes are closed. All other colours are essentially subtractive and
exist to define a surface. In the non natural world additive colour exists in
projected light and screen.
In this work, I chose the black frame to focus on the image
that is actually a non-image and creates an effect of simultaneous contrast –
the colours that the eye is constantly searching for or creating in opposition
to the actual colour. The simultaneous contrast is further explored by the bar
and the horizons within the non image. The fusion points of one colour against
another are, of course, pictorial and relate to my painting, but here the time
based form creates multiple contrasts that further explore a changing interaction.
I am interested that we look at an image that is not an
image and perhaps this is where the collaboration with sound is really possible.
The chromatic event is autonomous and certainly to do with reality in so much
that it takes place in time and space. In using this tool for making a film
work I have begun to explore the uncertain elements of mixing additive colour;
it is not to do with aesthetics or expression, but instead focuses on the
unstable range of colour perception in the additive environment.
Stokes, Adrian: The
Image in Form. Penguin 1972
Cruz Diez, Carlos: Reflection
on Color. Fundación Juan March, 2009
Albers, Josef: Interaction
of Colour. Yale 2006
