estranging the familiar
Colors and faces are two of the most enticing concepts for me, both in art and in research. A face is not perceived as just another object in the world. It is not a collection of details such as a nose, mouth and eyes. Instead, a face is defined and recognized by the relations between its parts, and in comparison to other faces.
Similarly, colors are much more than the specific light waves that physically define them. The identity of a color and its meanings only make sense in relation to the shades it appears with.
I strive to make these familiar processes estranged. When we think we know something well, we do not really see it. Our eyes may rest on the image before us, but our mind takes over in completing the scene.
When I start my process, I first decide on a set of restrictions and limitations regarding the use of color and material. I move between contrasts: meticulous planning versus randomness, rationality versus the gut instinct that leads me. The color palette may be minimal, but the potential for endless possibilities is already there.
Those same restrictions I apply to my work also hide within them all of the freedom I need.