date_from 19/04 28/05/2016
Note: from April 20 to 24, the gallery will be open from 10am to 6pm.
On white paper sheets, grids of little colored squares are painted. For every composition, the two juxtaposed colors are complementary and the proportion of each color is calculated for the optical average of the grid to be a grey. The local probability for a square of the grid to be of one or of the other color is determined by two superimposed sinusoidal waves, whose frequency and direction are randomly chosen. The complementary colors amplify themselves mutually when we look closely at them: a light yellow is more light and more yellow next to a dark blue-violet and vice-versa. However, the resulting color of the patterns is light, balanced, and a bit faded by the paper whiteness.
Because the colors of the compositions interact with each other and with the colors on the walls, the pieces were placed in a random order. There was no good reason for any of them to be next to another one in particular. The two colors used in every piece were used only once in the series. Some of them are very similar – for example the Pigment Yellow 74 and the Cadmium Yellow dark n°9 –, and these small differences are made more perceptible when they are next to each other. The variety of the colors used in the series covers all existing hues: red, orange, yellow, green, blue-green, turquoise, blue, blue-violet, violet and magenta. There is no black nor grey in use. The name of the pigments used and the order in which the compositions were produced determines the titles.
The wallpapers behind the frames and the drawings were generated by a similar algorithm that works with physical color measurements done with a spectrophotometer. Every pattern is unique by its shape and colors, but is generated by the same series of rules and constraints. 50% of the paper is covered by paint, and the superficy of the little squares can be 4 mm², 2 square root of 8 mm², 16 mm² or 2 square root of 32 mm².