Yasuko Toyoshima Web Site | WORKS / ColorCompensation−3

February 02, 2017, at 11:41 PM by Toyoshima Yasuko -

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February 23, 2011, at 02:04 AM by Toyoshima Yasuko -

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Using permanent markers, I draw lines in various colors on the surface of the top and side panels of a clear acrylic case set on a pedestal. The standardized neutral transparency case typically designates the containment of an artwork or artifact within a museum setting and conditions our viewing habit of peering into each case. In this particular work, my intervention subverts the purpose of the case as “a thing itself that is not an object to view” but as a plane through which to gaze at something else contained within. Here, what is contained is 201 color cards whose colors are altered when viewed through the random colors applied on the case. Viewing the color cards through my color drawings becomes an exercise of “mixing colors” by perception alone. The case functions like a “color compensation filter.” The light that passes through the case is no longer neutral, since the lines I had drawn transformed the clear case into multi-color gels. It is a manner of alluding to the fact that we cannot view the world with the assumption of pure nature. Human intervention and demarcation is visible everywhere. Whatever we see with our naked eye has to pass through the filter—the chaos or order—of the artifice we have created and constructed.

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Using permanent markers, I draw lines in various colors on the surface of the top and side panels of a clear acrylic case set on a pedestal. The standardized neutral transparency case typically designates the containment of an artwork or artifact within a museum setting and conditions our viewing habit of peering into each case. In this particular work, my intervention subverts the purpose of the case as “a thing itself that is not an object to view” but as a plane through which to gaze at something else contained within. Here, what is contained is 201 color cards whose colors are altered when viewed through the random colors applied on the case. Viewing the color cards through my color drawings becomes an exercise of “mixing colors” by perception alone. The case functions like a “color compensation filter.” The light that passes through the case is no longer neutral, since the lines I had drawn transformed the clear case into multi-color gels. It is a manner of alluding to the fact that we cannot view the world with the assumption of pure nature. Human intervention and demarcation is visible everywhere. Whatever we see with our naked eye has to pass through the filter—the chaos or order—of the artifice we have created and constructed. \\

February 23, 2011, at 02:03 AM by Toyoshima Yasuko -

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I randomly draw various lines with colored permanent markers on a clear acrylic surface.
These chaotic color lines are fill the surface of the boundary of a standardized neutral transparency case for looking at artworks. \\

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Using permanent markers, I draw lines in various colors on the surface of the top and side panels of a clear acrylic case set on a pedestal. The standardized neutral transparency case typically designates the containment of an artwork or artifact within a museum setting and conditions our viewing habit of peering into each case. In this particular work, my intervention subverts the purpose of the case as “a thing itself that is not an object to view” but as a plane through which to gaze at something else contained within. Here, what is contained is 201 color cards whose colors are altered when viewed through the random colors applied on the case. Viewing the color cards through my color drawings becomes an exercise of “mixing colors” by perception alone. The case functions like a “color compensation filter.” The light that passes through the case is no longer neutral, since the lines I had drawn transformed the clear case into multi-color gels. It is a manner of alluding to the fact that we cannot view the world with the assumption of pure nature. Human intervention and demarcation is visible everywhere. Whatever we see with our naked eye has to pass through the filter—the chaos or order—of the artifice we have created and constructed.

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My intervention disturbs an empty transparent area that promised 'Nothing is there, just protecting artworks, such as a clear filter. This in itself is not an object for gazing at'.
In the showcase, I insert ' Color swatch' which has 201 color cards.
People see the color cards through my color drawings.
People look at a what is inside the showcase. At the same moment people see my drawings on the surface of the showcase. People watch the color swatch through my color drawing. Both colors mix with each other.
I liken the showcase to a kind of 'color compensation filter'.

The colors are divided in my drawing.
In the box, the light is not neutral since it is affected by my drawing.
There are no neutral lights and colors since I had drew_painted everywhere.
We cannot escape from our artificial world. We are watching what we do.
\\

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May 01, 2010, at 06:43 PM by Toyoshima Yasuko -

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色調補正−3 Color Compensation−3 (2006-)

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色調補正−3 (2006-)

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Color Compensation−3rd (2006-)

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Color Compensation−3 (2006-)

I randomly draw various lines with colored permanent markers on a clear acrylic surface.
These chaotic color lines are fill the surface of the boundary of a standardized neutral transparency case for looking at artworks. \\

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My intervention disturbs an empty transparent area that promised 'Nothing is there, just protecting artworks, such as a clear filter. This in itself is not an object for gazing at'.
In the showcase, I insert ' Color swatch' which has 201 color cards.
People see the color cards through my color drawings.
People look at a what is inside the showcase. At the same moment people see my drawings on the surface of the showcase. People watch the color swatch through my color drawing. Both colors mix with each other.
I liken the showcase to a kind of 'color compensation filter'.

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April 26, 2010, at 11:27 AM by Toyoshima Yasuko -

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\\

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July 03, 2009, at 10:15 PM by Toyoshima Yasuko -

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February 19, 2009, at 06:59 PM by Toyoshima Yasuko -

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色調補正−3 Color Compensation−3 (2006-)\\

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色調補正−3 Color Compensation−3 (2006-)

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Color Compensation−3rd (2006-)

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Color Compensation−3rd (2006-)

February 17, 2009, at 05:04 PM by Toyoshima Yasuko -

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 色調補正−3 Color Compensation−3 (2006-)\\

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色調補正−3 Color Compensation−3 (2006-)\\

February 16, 2009, at 10:49 PM by Toyoshima Yasuko -

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The colors are divided by my drawing.
In the box, the light is not neutral since it is intervened by my drawing.
There are not neutral lights and colors since I had drew_painted everywhere.
We can not away from our artificial world. We are watching what we do.\\

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The colors are divided in my drawing.
In the box, the light is not neutral since it is affected by my drawing.
There are no neutral lights and colors since I had drew_painted everywhere.
We cannot escape from our artificial world. We are watching what we do.

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February 14, 2009, at 12:54 AM by Toyoshima Yasuko -

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In the box, the light is not neutral since it is Intervened by my drawing.
There are not neutral lights and colors since I had drew_painted everywhere. We can not way from our artificial world. We are watching what we do.\\

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In the box, the light is not neutral since it is intervened by my drawing.
There are not neutral lights and colors since I had drew_painted everywhere.
We can not away from our artificial world. We are watching what we do.\\

February 14, 2009, at 12:53 AM by Toyoshima Yasuko -

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色調補正−3 Color Compensation−3 (2006-)\\

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色調補正−3 Color Compensation−3 (2006-)

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Color Compensation−3rd (2006-)

February 14, 2009, at 12:52 AM by Toyoshima Yasuko -

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December 23, 2008, at 09:25 PM by Toyoshima Yasuko -

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April 27, 2008, at 07:43 PM by Toyoshima Yasuko -

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April 27, 2008, at 06:41 PM by Toyoshima Yasuko -

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April 27, 2008, at 05:56 PM by Toyoshima Yasuko -

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WORKS.ColorCompensation−3 History