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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 | SIGNAL
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 tautology: self-referential relations within colour​

Colour entropy: colour transformed through duration

Colour models: colour defined through language

Colour speculations: recombining characteristics of colour into new readings

Colour tautology: self-referential relations within colour

ULTRAVIOLETTEN

LAb[au]’s Ultra-violetten, two horizontal grey and violet panels crossed by a glowing ultraviolet light tube.

The title Ultravioletten—an inflected form of the German adjective ultraviolett—is an anagram of neutral and violett. Its missing noun points beyond the image towards an absent referent.

 

Under blacklight, neutral remains unchanged while violet produces a luminous halo—as if the colour names anticipated their material behaviour: neutral stays neutral, while violet, the colour of transcendence, reveals a trace of invisible light.

 

The painting thus becomes a threshold of perception, constructing an unexpected phenomenological reality.

LIST OF RELATED PROJECTS

ultravioletten

1600 years of light, painting

Thermochroma

CONCEPTUAL SEQUENCE

Ultraviolet → Radioluminescence → Infrared

LIST OF RELATED KEYWORDS

# The Presence of the Invisible # The Invisible Spectrum of Light 

# Limits of Perception # Chromatic Response

# Phenomenological Experiences # Constructing Realities # Emergent Meanings

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