The Tom Ford Spring collection maintains a strict palette of black, white, gray and nudes drawing from the sensual warmth of humanity we so often crave. For dunhill, accessories function exactly to define a precise sense of uniqueness, which in turns comes out from a variety of multifaceted aspects that literally mirrors the brand's DNA.
Breathing Colour is an installation-based show that takes a deeper look at the way colour behaves, exploring shapes, materials, shadows and reflections.
How does the light during the day influence the colours and materials? What is the relationship between form and colour?
When does a colour lift up a shape and give it a new dimension? What is the role of shadow? All elemental aspects of design.
The ultimate aim is to pit the power of colour against the power of form. In my work I think about how coloured objects affect other objects and how all the objects behave in a certain setting. How important is size or volume for a colour and how do coloured objects influence one another?
The different materials have an impact on each other and certain colours can accentuate horizontal shapes, while others are better for vertical forms.
And then the lighting conditions or colour temperature also changes a space. There are many facets that require research beyond these questions, because the relationship between colour and shape is a puzzle with many solutions. What makes a colour beautiful? Colour touches on so many different aspects of design: Experiencing colour is completely dependent on its physical, visual, artistic and cultural context.
Beautiful colours for me are made with high-end pigments, which result in colours that breathe with light — taking on new hues under different lighting conditions. What do you miss in industrial colours?
I miss the dash of red in most industrial recipes for green that gives the colour its intensity, I miss a true black in plastic granulates. I miss colours that breathe with the changing light.
I miss the changeability, the options, that will allow us to read and re-read an industrially produced colour, like we do with works of art. The most important aspect in the quality of a colour is its pigments — this is the recipe that lies behind the colour.
With this exhibition, I hope to build an archive and create a tool for interpreting colour. I want to show a broader perspective than the industrial palet and demonstrate how powerful colour can be in transforming shapes and objects.
Breathing Colour is a manifesto for colours. There are many colour systems with thousands of hues. We can choose from a large amount of varying hues.
As a tool, this can be helpful for designers and interior architects. But how can we ever intimately relate to colour and its subjective effect in this scenario? The largest part of the effect of a colour is made up of its quality. The perfectly sorted colour systems with their immaculacy seem to neglect this aspect.
I will share one example: This can happen especially when viewed in different lighting conditions.HAMLET'S MILL. AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE. AND ITS TRANSMISSION THROUGH MYTH. Giorgio De Santillana and Hertha Von Dechend CDP RecBox provides Jen Brown said As Heather just said.
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welcome to young, colored & angry! we're so glad you're here. YCA is an online magazine that exclusively features the work of young People of Color from around the regardbouddhiste.com this issue, you'll find poetry, visual art, and essays coming out of NYC, LA, London, Accra & more!
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