Hayley Marie Clack
Red Stallion 2: 2009
Buttercup Fool 2: 2009
Javan Dawn 2: 2009
This work relates to my desire to address aesthetic judgements and how this relates to colour and internal spaces. This series of work is made up of 3 large walls that have the ability to be moved around. They are painted with Dulux colours from the commercial paint industry. The main point of interest is the binaries taking place such as the static object that can actually be moved, the flatness and density of the colour upon a hollow plywood wall and of sculptural authority with decorative transience. This disruption I hope begins to question notions about form and colour, to represent colour as structure, but also to situate this in the realm of the decorative to create a tension between psychological spaces. The colours I have used here deal with these ideas. By using primary colours I am supposedly accepting traditional theory of colour as an authority however it is clear to the viewer that they are painted with commercial household paint, and the hue, tone and intensity is not what you would necessarily define as primary colours, the red is dense whilst the blue veers towards a turquoise and the yellow recalls pastel shades.
If one says “Red” (the name of a colour)
And there are 50 people listening,
It can be expected that there will be 50 reds in their minds.
And one can be sure that all these reds will be very different.’
Josef Albers ‘Interaction of Colour’
Although this suggests the infinity of colour it also demonstrates the limitations of language, and colour becomes a tool for the representation of the intangible and in the process is subordinated. Colour charts standardise. Colour and its relationship to language is complex and the categorization of colour into colours may change our expectations of chromatic experience. The acceptance of colour as representative of memory and emotion can be seen in the evocative language used to describe the colours available for brands such as Dulux. Red Stallion, Buttercup Fool, Javan Dawn.
‘But colour can also seem bottomlessly resistant to nomination, attaching itself absolutely to it’s own specificity and the surfaces on which it has or finds its visibility, even as it also appears subject to endless alteration arising through its juxtaposition with other colours. Subjective and objective, physically fixed and culturally constructed, absolutely proper and endlessly displaced, colour can appear as an unthinkable scandal. The story of colour and it’s theory within the history of art is a history of oscillations between its reduction to charm or ornament and its valorization as the radical truth of painting.’
Stephen Melville, extract from ‘Colour has not yet been named: Objectivity in deconstruction’