藝苑掇英 Carrade Michel 米歇爾·康拉德 (1923) Color Field Art Informel French скачать в хорошем качестве

藝苑掇英 Carrade Michel 米歇爾·康拉德 (1923) Color Field Art Informel French

[email protected] My story with color started a long time ago ... For years I put colors on papers and canvases, and little by little, I realized that these colors were like loads, that their juxtaposition or the gaps that bound or divided them caused shocks and tensions. At these moments there was a flickering of colors in the eye, or calls between certain colors. Sometimes even burning effects would burst forth as if the colors were volatilizing to create something more than an addition of colors. Elsewhere, nothing happened, it did not work ... and the colors remained in their place, transies, in a still and frozen isolation. Before 1968, my painting played on relations of form which were next to each other, clashed or merged by effects of matter, thickly spatulate or fluidic pastes, even very liquid laid in glacis which forced me to paint flat on floor. The connections and transitions were then dark circles and most of these paintings were articulated on a duality opposing graphics and colored beaches. Graphics played a role in ligature fixing the distance of the colored tensions; the blazing power of the charges of bright colors circled by the graphic link was essentially the pictorial intention of this period. I confronted the antagonism of a coexistence, that of disagreement in the agreement and noticed that these tensions precipitated the opening of a space field. It was in 1969, at an exhibition I made in Montreal and prefaced by Jean Guiraud under the title Tablecloths of Space, an important step is taken: I release my painting of any sign or graphic element and set up a new structure formal from large vertical ranges that weave between them more or less clear passages and intervals, modulating each other in shades and fluidity of matter that avoid dryness of solids. I choose to express the color by its mere physical and immediate presence delivered things and anecdote. The materiality of the pigments being the only reference, the only reference that can be quoted in the surface of the canvas. It is the rectangle that now "figure", which is place and concentrated form of painting. The rest of my exhibitions showed different phases of this journey which was reduced to organizing the surface in vertical bands to clarify the antagonism of colored relationships by the multiplicity of encounters and intervals. Having rejected the form as a foreign body, it is deduced itself from the format in a banal repetition which leaves color to take over by the sole activity of reactions and energies that are exchanged. This work, based on the ritual of monotony and recommencement, starts from color and tirelessly poses the fact of light, its omnipresence and its complexity. And if chance added a gesture of disarray or disturbance, it would only be better. Finally, do not forget, the derision is that it is not on the painted canvas that this is realized, Michel Carrade, November 1988 我的顏色故事很久以前就開始了...... 多年來，我在紙張和畫布上放置顏色，並且一點一點地發現，這些顏色就像裝載物，它們的並列或者將它們分開的差距導致了衝擊和緊張。 在這些時刻，眼睛中出現了閃爍的顏色，或者是某些顏色之間的通話。有時甚至燃燒的效果也會爆發出來，就好像顏色揮發創造的東西不僅僅是顏色的增加一樣。在其他地方，什麼都沒有發生，它沒有奏效......顏色仍然在他們的位置，在靜止和冰凍的孤立中傳遞。 在1968年之前，我的作品展現了彼此相鄰的形式關係，通過物質的影響，厚厚的匙形或流體膏體，甚至是非常液態的冰川沉積，迫使我在地板上平鋪油漆。這些連接和過渡是黑眼圈，其中大部分繪畫都是用對偶圖形和彩色沙灘的二元性來表達的。圖形在固定著色張力的距離的連接中起作用;圖形鏈接圈起來的鮮豔色彩收費的熾熱力量本質上就是這一時期的繪畫意圖。我面對共識的對立，即協議中的分歧，並註意到這些緊張局勢促成了空間場的開放。那是在1969年，我在蒙特利爾舉辦的一個展覽中，由Jean Guiraud以太空桌佈為題名，採取了一個重要步驟：我釋放任何符號或圖形元素的繪畫，並建立一個從垂直在它們之間編織或多或少清晰的通道和間隔，相互調節避免固體乾燥的物質的陰影和流動性。我選擇通過僅僅物理和直接的存在來表達顏色，並傳達出一些東西和軼事。顏料的實質性是唯一的參考，這是唯一可以在畫布表面引用的參考。現在是“形象”的矩形，這是地方和濃縮的繪畫形式。 我的其餘展覽展示了這個旅程的不同階段，這個階段被縮減為在垂直帶中組織表面，以通過多重接觸和間隔來澄清有色關係的對抗。在拒絕了作為異物的形式之後，它從一種平淡的重複中被推斷出來，這種重複使得交換的反應和能量的唯一活動留下顏色。這項基於單調和重新開始的儀式的作品從色彩開始，不知疲倦地構成了光的事實，它的無所不在和其複雜性。如果機會增加了混亂或擾亂的姿態，那隻會更好。最後，不要忘記，嘲笑是，它不是在畫布上實現的， 米歇爾卡拉德，1988年11月