It's a simple fact, when you move from one color space to another color space, that if there's a value contrast you get a strong optical illusion. Strong value contrast can be expressive and dramatic. Like the difference between high or low volume or the low key and the high keys on the piano.. .Actually, if you're moving from one flat color to another flat color, if there's a difference of color – if one is matte and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side.. .Another reason is that a matte color and a shiny, transparent color are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that. So there's an expressive difference you can get that gives you more expressive range.
Kenneth Noland Carolinian
Source
pp. 99 – 105
- work
- "Color, Format and Abstract Art" (1977)
- year
- 1977
- locator
- pp. 99 – 105
Cite this record
“It's a simple fact, when you move from one color space to an…” Kenneth Noland. Carolina Quotes, record CQ-AB6E5A0E0C. https://carolinaquotes.com/quote/ab6e5a0e0c
More from Kenneth Noland
I knew what a circle could do. Both eyes focus on it. It stamps itself out, like a dot. This, in turn, causes one's vision to spread, as in a mandala in Tantric art.
We [his art-friend & painter Morris Louis and Noland himself] were interested in Pollock but could gain no lead from him. He was too personal. But Frankenthaler showed us a way – a way to think about and use, color..
Morris Louis and I were interested in how Pollock and Helen Frankenthaler [famous for her soak-painting technique] were using paint. Of necessity we had to get more interested in the stuff of painting. We talked a lot about whether to size the painting or not to size, how to mix up paint.