This color theory section is an extension of light fields and investigates implied context of non-objective forms through composition and color. The following works also are inspired by my fascination color theory: both additive and subtractive color models stand as a point of investigation and wonder. I use the models to ponder the possibilities of what each model can achieve: with the manipulation of subtractive colors you could create any type of painting or drawing the mind could imagine. With the additive model, I contemplate the possibilities presented through digital and technological innovations. In thinking of the models as related, I begin to imagine the extents of possibilities within our natural world and beyond.
In all, these colors and forms may at times appear to be disconnected or lack specific focus but I conclude that they were necessary to gain proper technical knowledge of color theory, but more importantly, they served as an outlet to express myself in a spiritual fashion as the forms often refer to themes of structure, pattern, symbolism, and the non-physical.
Turquoise (Cyan Green)
Lime (Yellow Green)
Orange (Yellow Red)
Crimson (Magenta Red)
Violet (Magenta Blue)
Cobalt (Cyan Blue)
* Note both additive and subtractive will same sets of tertiary and quaternary colors.
** Color naming is often subjective; you can refer to colors by parts (2 parts cyan+ 1 part blue= sky or 2CB)
* Note: Contemporary CMY mixes brighter hues opposed to traditional RYB.
Each square represents one color, value, or combination. The piece as a whole gives the illusion of gradation though each square is separate. Compare this to the idea of Georges Seurat and Pointillism. On a smaller scale you compare this to the idea of how indiviudal pixels work together to make an image.