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Through the permutation of the five research fields:

colour, time, signal, language and possibility

an interconnected field of conceptual relations emerges:

 

COLOUR | TIME , TIME | SIGNAL 
POSSIBLE | LANGUAGE , LANGUAGE | TIME

 

are among the fundamental axes of LAb[au]’s artistic research.

artworks
painting, writing, calculating, transcoding

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installations
available, archive, in progress

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public art
public space, indoor, ongoing, proposals

 

linguistic monochromes
colour archives
colour etymologies

colour taxonomies
temporal pigments

invisible signals, visible colours
...

colour as a field of knowledge


duration paintings
time words
visual palimpsests
temporal lexica
entropies

signals from another time
...
time as a material 

 

extended perception
sensing through data
possible dimensions of reality
speculative meanings
…
signals between the visible and the invisible
between established meanings and new senses

 

displayed glyphs

translated signals
possible language systems
emergent lexicons
saturated signs

...

 

language between code and meaning

 

probable combinations
possible readings
stochastic landscapes
random orders
...


emergent spaces of meaning

 

a cartography of


interconnected research fields
and relations yet to emerge


Colour entropy: colour transformed through duration

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Colour sensing: the invisible spectrum of light made tangible

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Colour models: colour defined through language

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Colour speculations: recombining characteristics of colour into new readings

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COLOUR | COLOUR
Colour tautology: self-referential relations within colour​

Colour sensing: the invisible spectrum of light made tangible

Colour models: colour defined through language

Colour speculations: recombining characteristics of colour into new readings

Colour entropy: colour transformed through duration

Farb Farb Farben

LAb[au]’s Farb–Farb–Farben: three monochromatic canvases labelled Wiesel, Bis and Bleiweiss arranged as a linguistic still life.

Farb–Farb–Farben generates colour compositions from anagrams of colour names. By recombining their letters, new colour names emerge—as if colours themselves were being mixed. The number of letters determines the proportions of the monochromatic canvases; here, language defines format, proportion and composition.

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Likewise, BIS + WIESEL → BLEIWEISS unfolds into the material conditions of painting: bis, the colour of unbleached linen, evokes the canvas; Wiesel, whose hair is traditionally used for brushes, evokes the painter’s tool; and Bleiweiss names the pigment lead white. This linguistic still life emerges from relations between words, becoming a self-reflexive structure in which colours compose colours and painting reconstructs its own materiality.

LIST OF RELATED PROJECTS

Farb Farb Farben

monochromeS

What Colours Tell Us About ...? – Colours and Painting

Sublimerais

CONCEPTUAL SEQUENCE

Colours Composing Colours → Monochromes Referencing Monochromes → Colours Defining Colours → Colours as Colour Philosophy

LIST OF RELATED KEYWORDS

Colour Tautology # Colour Etymology # Self-Referential Colour # Colours Composing Colours # Monochromes Referencing Monochromes # Colours Defining Colours # Colours as Colour Philosophy # Linguistic Still Life

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