Color is a strange beast within my practice. Although I am entranced by the ways in which some artists will use color, it rarely permeates my own work to a significant degree. My colors tend to stay muted or gray, at least until the series of canvases on display for the degree show. I knew I wanted pops of color interspersed in the soft, cool tones of the majority. But it took ages to figure out where that line between too much and not enough sat. With each sketch, I felt as if I was endlessly playing with the saturation bar on photoshop. I think restricting the size of the canvases helped in that respect as well. If they had been larger, the balance of saturation would have had the extra variable of the over all square footage of the brighter spaces.
What do I want the color to accomplish?
It should balance on the wire between the real and the imagined. The oranges and blues should lend a sense of time so that the series might be read as a disjointed journey rather than simply individual moments. The windows should sometimes allude to an outside that the spectator is unable to reach from within the confines of the painted space. Although the bright areas might give hope to what lays at the end, the interiors should bear a soft sense of dreariness that cannot be shaken free.
Balance is the intended purpose of my color usage. Between real or imagined, color or monochrome, here or there, wonder or despair, and place and non-place.