Copyright © 2011 TOYOSHIMA Yasuko. All rights reserved.\\

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. \\

Copyright © 2011 TOYOSHIMA Yasuko. All rights reserved.\\

色調補正−２ Color Compensation−２ (2005-)

相似である二枚一組の「絵」。
ーーー比率と色は同じ、しかし倍率が異なる二枚一組の「絵」。
同色のように見えている二枚の片方は、額にセットされた色ガラスによって（混色）調整されている。\\

色が現れる仕組が異なる、しかし同じ色の絵。二枚を一組とした作品。\\\\

In this series, two pictures make up 1 unit.
A common denominator of the two pieces is the ratio of the length and width (vertical and horizontal), and the identical geometric patterns and colors of the picture under a light source at that moment.
One piece of the two is an oil painting, the other piece was painted with interior furniture paint.

Each picture is set into a picture frame that has glass covering the painted surface. I used two types of glass, one that was colored glass in which geometrical color patterns were designed, the other with clear glass.

Since different painting mediums are used and as they are seen through different glass, they are visualized by different mechanisms. One of them is seen through colored glass. In this case, the color of the picture and the color of the glass were mixed.

What I am doing in the unit, in between the two pictures including the glass of the picture frame, is 'color compensation' in order to regulate an identical condition visually, only under the light source in the space and moment.

All materials for my approach back up my supposition.
Everything is related to my supposition. I have to acknowledge that 'my approach' is inside my supposition.
I have to experience that my 'color compensation' also follows my supposition.
My supposition makes sense only under the light source at that moment and in that space.
I will see that my effort of 'color compensation' would disappear when I take them outside the room I worked in. However, I need to experience working under limited conditions. I have to find out and experience that there is no space for thinking without suppositions.
\\

二枚の絵は、額のガラスの色によって＿色ガラス／透明ガラスによって、色調の見え方が調整されている。\\

相似に見えるように構成した二枚一組の「絵」をつくる。
比率と色調は同じに見えるように設定し、しかし倍率だけが異なる二枚一組の「絵」をつくる。
同じ色のように見えている二枚の絵は、額縁の色ガラス／透明ガラスによって調整されている。\\

色が現れる仕組が異なる、しかし同じ色に見える二枚を一組とした作品。\\\\

Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved.
無断転載を禁止します。

Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved.
無断転載を禁止します。