A rough draft, fragment of Katie McNamara’s movement piece. The drawing was made by her moving her back and me moving my arms and hands.
I took a Cunningham dance technique class this past spring at Brown University. The teacher, Andrea Weber, gave a copy to each student in the class. She danced for the Merce Cunningham Dance Company until it ended in December, 2011 . This text was posted in the studio where they danced.
Red, Ylw, Grn, was an installation at the AS220 Project Space on view from 12/4 to 12/24/11. It was a show about how things go together, how they relate to one another as well as to the whole, to different “wholes”. It used abbreviations, stand-in’s as well as simple, elemental parts as the individual, separate components that then get organized, grouped, mixed in different ways, to varying degrees, and at different scales. There were simultaneous processes of breaking things down as well as of constructing complexity. The individual components included marks, pure colors, individual shapes from nature such as leaves or flower petal or seed. Examples of aggregated parts include greys made from pure pigments, progressions from light to dark or red to green, or marks that make up a recognizable thing such as a group of plants or a tree.
The title, Red, Ylw, Grn, refers to the primary colors that we perceive (what our color receptors respond to), to the dominant colors that I perceive in nature, to the paint colors I use in these paintings, and to the idea of use of language to describe.
To isolate the problem of color for the same painting – leave out the physicality and movement of making marks by making only flat homogeneous color patches – although there are differences in application (thick, thin, with/without medium) to evaluate differences in body, color/transparency.
Backlighting study. The first image is frontlit with daylight and backlit with incandescent light, the second is reversed.