My painting practice is defined by a physical engagement with colour, materials and processes. Discovering new pigments and fabricating paints in order to maintain their primal beauty and to develop an intensified Chroma/pigment and its applications are explored through considerations of scale and of the formal, spatial and plastic qualities of paint, resulting in a shifting field of compositional and surface relationships being made visible. I explore how colour and its agency operate in contexts of monochromatic painted surfaces articulated in the space.
Aimed at investigating colour and its manifestations but particularly as an unstable and unsettling factor, with the potential to generate feelings and responses that are in constant dialogue with the viewer. This question might arise from an interest in how the image in art emerges from visual-material relationships, but then transcends the bounds of the painted surface into pure sensation.
I am not interested in cultural contexts of colour as such in my works, but more in exploring how colour articulates itself between feeling and thoughtful response, and between formal, tonal surface and spatial relationships.
The nature of colour is of movement and constant fluctuation. I wondered if the actual colour can be ever seen or known. As the tonal value of colour it’s always dependent on its external light source.
The question of how colour is perceived has furthered added to its spell and a subject of fascination for me.
Colour is expressed through a journey of codifications to diagrammatic composition within a modular and spatial dynamic where the parts relate to the whole, where the “whole” is not only the sum of its parts but is also an entirely different entity.
Colour and painting in themselves are seductive in their simplicity and directness, as evoked through paint’s own virtue. For me, by means of pure colour speaking through its own voice, song and rhythm.
I find the roots of creativity in the very material qualities of the substances I use when painting.
The approach taken engages interaction between the formal and the playful, between rational planning and contingency, within sites of visual and spatial potentiality where intuition, chance and improvised response generate unique configurations
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