ARTISTS
I帽aki Domingo: Color vaciado
Luis Adelantado is pleased to invite you to Emptied colour, the first individual exhibition of Madrilenian artist I帽aki Domingo at our gallery, after he took part in the XVIII CALL of Luis Adelantado.
The works of Color vaciado were created over the last five years and are part of one of I帽aki Domingo鈥檚 lines of research on the mechanisms of visual perception. In this project, the artist focuses his attention on the behaviour of colour in images and how they relate to each other depending on the medium and the context in which we observe them. By taking as a starting point a quote from Josef Albers鈥攚ho stated that 鈥渃olour is the most relative medium in art鈥濃��, he proposes a colourimetric analysis in which the conflict regarding the ways of perceiving colour in terms of its context leads us to a representational paradox.
What happens when we take a colour photograph of a monochromatic space? And then, when it is printed, framed, exhibited, illuminated鈥� How does our perception of these images change in function of these conditioning factors? Following Albers鈥檚 approach, images are always affected by external agents that make them take on a state of constant fluctuation, which makes their appreciation or reliable reproduction practically impossible.
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Luis Adelantado is pleased to invite you to Emptied colour, the first individual exhibition of Madrilenian artist I帽aki Domingo at our gallery, after he took part in the XVIII CALL of Luis Adelantado.
The works of Color vaciado were created over the last five years and are part of one of I帽aki Domingo鈥檚 lines of research on the mechanisms of visual perception. In this project, the artist focuses his attention on the behaviour of colour in images and how they relate to each other depending on the medium and the context in which we observe them. By taking as a starting point a quote from Josef Albers鈥攚ho stated that 鈥渃olour is the most relative medium in art鈥濃��, he proposes a colourimetric analysis in which the conflict regarding the ways of perceiving colour in terms of its context leads us to a representational paradox.
What happens when we take a colour photograph of a monochromatic space? And then, when it is printed, framed, exhibited, illuminated鈥� How does our perception of these images change in function of these conditioning factors? Following Albers鈥檚 approach, images are always affected by external agents that make them take on a state of constant fluctuation, which makes their appreciation or reliable reproduction practically impossible.
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