The media are not toys… they can be entrusted only to new artists, because they are art forms.
(McLuhan, 1954)
Variations on ColorFields
Light Sculpture
Dimensions: 36” x 5.5” x 5”
Material: Cast Acrylic, Color Filter Gel, LED Light, Baltic Birch
Color is energy made visible.
- John Russell
“Variations on ColorFields” reinterprets the central ideas of non-objective art – the Color Field movement and post-painterly abstraction – in luminous, three-dimensional form and explores the perception and tension between light and color.
The light sculptures in this series explore the properties of light and color: the objective is to not focus on the object alone, but to produce sensations of “color movement” in the eye of the beholder.
Like rhythm and tempo in music, the dance between light and color can induce vibration, pulse, and movement. These color vibrations allow the observer to experience the conditions of perception itself and to experience color as a language of energy.
As a reaction to the emotional energy and gestural surface of abstract expressionists, color field artists turned away from the individual mark in favor of color itself becoming the content of the work, exploiting the expressive potential of color.
- John Russell
“Variations on ColorFields” reinterprets the central ideas of non-objective art – the Color Field movement and post-painterly abstraction – in luminous, three-dimensional form and explores the perception and tension between light and color.
The light sculptures in this series explore the properties of light and color: the objective is to not focus on the object alone, but to produce sensations of “color movement” in the eye of the beholder.
Like rhythm and tempo in music, the dance between light and color can induce vibration, pulse, and movement. These color vibrations allow the observer to experience the conditions of perception itself and to experience color as a language of energy.
As a reaction to the emotional energy and gestural surface of abstract expressionists, color field artists turned away from the individual mark in favor of color itself becoming the content of the work, exploiting the expressive potential of color.
Lee F. Mindel (source: Galerie Magazine)
Photo: Michael Moran / Otto
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