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Color Compensation−2 (2005-)

In this series, each diptych is simultaneously comprised of sameness and variability. The diptych pieces differ in size, medium, light condition, and glaze but share the common denominators of length-width ratio as well as identical geometric patterns and colors. One component is painted with oil; the other with interior furniture paint. One is framed under clear glass; the other under glass that has been painted with the same geometric color patterns applied to the painting. The use of different types of paint and different glazes triggers different mechanisms in the visual experience of what might seem like “the same thing.” Intensity, tone, saturation, or purity of color; gloss; and texture become nuanced or modified. By regulating the conditions of production, I device a method of ‘color compensation.’ Such exercise under a fixed light source approximates a presupposed identical image. Applying the colors under the given light source in each instance affects the actual visual properties of each painting. The end results prove my attempts at ‘color compensation’ futile once taken from my studio and viewed in different light conditions.






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