May 21 - July 31, 2015
COLOR VALUE is an exhibition that delves into the usage, meaning, intensity and value of color in the making of art. Without light, there is no color. Without contrast, there is no difference. Without either light or contrast, there is no value. These six artists were selected for this exhibition because they address a wide range of points along the spectrum of color and value. The title “color value” was chosen because it is open enough to tackle many artistic concerns from literal interpretations to multi-layered deductions of what color and value mean.
Moon Beom is arguably one of the most renowned artists to emerge out of the Korean Monochrome Movement of the 70s and 80s. He is technically adept at fusing traditional Korean aesthetics with Western abstraction. Moon’s approach has been to start with a flat base color, overlaid with another color that is manipulated and coerced through density and feathering into an infinite world of fantastic abstractions.
Sydney Blum’s wall sculptures are multi-colored and layered cubes constructed from wire and synthetic hair. The series is informed by the mathematics of “fuzzy geometry” where spatial coordinates become a variable with a range of value, rather than being defined by a discrete singular location in space. The results are objects with non-crisp, fuzzy boundaries, a nesting of geometric forms contracting and expanding offering a sense of interrelatedness and tolerance for an indefiniteness in the space.
Jeff Doran’s series “whole” is an inquiry into the illusion of light, suggesting volumetric form within a circular structure. Utilizing technology as a tool to interpret and manage seemingly unlimited quantity and complexity, each piece is a unique c-print of a digitally constructed work with slight color variations. He devised this system as a means of participation in the emergent process of underlying visual perception.
In his Color Word paintings, Christian Faur developed a coding system with 26 distinct colors, each representing a letter in the English alphabet. The highest frequency letters (vowels) were mapped with the most saturated colors using the RGB color system. The next highest were based on cyan, purple, pink and gray. Lesser degrees of shade, hue and saturation were used for the remaining letters. These paintings are rendered in vertical strips of encaustic color that relate to his color alphabet system. The widths of the color strips conform to the length of the sound of a spoken word. Paradoxically, Faur’s coding system relies on visual poetry in that some sentences will be more visually appealing. Also on view will be Faur’s Melodie series that uses a single constant image to explore in several iterations the weaving of colors, tones, and patterns with the intent to push the limits of his crayon technique.
Will Kurtz creates life-size caricatures of individuals and animals out of newspaper with an internal structure made of wood and wire. His use of newsprint acts as a collage of readymade color and value that is applied in a spontaneous painterly fashion to reflect the mood, posture and facial expressions of everyday people. His chosen medium of newspaper affects a raw, imperfect quality that captures the vulnerability and resilience of those living on the margins of society.
Joanne Leah’s photographs portray parts of the body arranged as design elements that are juxtaposed with ordinary yet highly stylized props. Using color values within a particular spectrum, such as blue, green, red or violet, she constructs a narrative that takes us on a mysterious trip through her surreal, fairy tale crime scenes. Her imagery draws from her own childhood memories, exploring themes of isolation, detachment and identity