Colour has always been an interest of mine since my time at Art School in the mid 1970's. I see it as playing a major part in conveying emotion in my work. My choices of palette are often random but mostly they reflect my mood when I work.
This interest in colour means I'm always on the lookout for new ideas to improve how I work colour.
So when I recently saw a video - 'Contemporary hanbok design: Cheollik Dress and Shamanism Collection by Tchai Kim' posted on the Victoria and Albert Museum site I was curious, and inspired to learn more about the yin and yang colour theory which consists of five elements: white (metal), red (fire), blue (wood), black (water) and yellow (earth). Although I've known about it in the past I've never taken time to explore its potential use in my work.
The luminous light feeling of 'Blue Lumen' inspired its title. It is my second work using this colour theory, the first work had the primary colours in their natural state but in this one the yellow and red are high key and barely visible but against the blackened backdrop they appear to glow.
This interest in colour means I'm always on the lookout for new ideas to improve how I work colour.
So when I recently saw a video - 'Contemporary hanbok design: Cheollik Dress and Shamanism Collection by Tchai Kim' posted on the Victoria and Albert Museum site I was curious, and inspired to learn more about the yin and yang colour theory which consists of five elements: white (metal), red (fire), blue (wood), black (water) and yellow (earth). Although I've known about it in the past I've never taken time to explore its potential use in my work.
The luminous light feeling of 'Blue Lumen' inspired its title. It is my second work using this colour theory, the first work had the primary colours in their natural state but in this one the yellow and red are high key and barely visible but against the blackened backdrop they appear to glow.
