This thesis is concerned with the idea of color and its paradoxical relation to the tonal grayscale. More specifically, how does the question of gradation in color and in value inform one’s perception of an object and its dimensionality. For installation artist Olafur Elliason, “Colour doesn’t exist in itself, only when looked at. The fact that ‘colour,’ uniquely, only materializes when light bounces off it into our retina indicates that analyzing colors is in fact about analyzing ourselves.” Here Elliason introduces the variability of a phenomenological perception of color which is independent from a phenomenology of color. Citing theorists such as, Gaston Bachelard, David Bachelor, and Maurice Merleau-Ponty, I argue that grayscale can be used and understood as a foil to the perceived static nature of space and the objects itself.
My work seeks to generate a dialogue between material objects and the immateriality of light. Materiality here, functions as a catalyst to inform three-dimensional immateriality of an object and the space it exist within. The work emphasize the material object, as the perception of it shifts due to, its ability to inform three-dimensional space. Eventually, the installation transitions into a phenomenological, perception-based experience. Challenging the idea of a work of art as a material object, explores different ways of seeing, thinking, and making. In working with light and
reflection as media, my studio work—as well as my writing practice—has gained a multifaceted cognizance to three-dimensional space.