Colour and Multiplication Effect

Among the works submitted for the Triennial a large group can be classified under the heading of

compositions or even graphic cycles in which the principal element is a repetitive module. This formula was used by: Lars Holmstr�m, Miros�aw Paw�owski, Cecile Boucher, Stefan Ficner, Elvyra Kriauciunaite, Milan Sokol and Benjamin Vasserman, among others. By the creative use of a rudimentary feature of graphic technique these artists made a contribution to the timeless discussion about the essence and autonomy of graphic art. Each one of them drew from tradition in a different way, but it should still collectively be perceived as a symbolic foundation on which they develop their individual artistic language of expression, a starting point in the search for new formal, structural or ideological solutions. Multiplication became an analytical tool in the hands of these artists. The purpose of this analysis is to examine the essential nature of shapes and objects, their structure, continuity and fluctuation at the same time while maintaining a state of apparent stability. When using the multiplication technique colour defines the degree of identically or, alternatively, it brings about changes to the structure of the composition, as well as contributing to the different perception of similar elements. Colour brings order and rhythm to surfaces just as form does.

The most visible and suggestive relationship between multiplication and colour can be observed in the works of Lars Holmstr�m. In the three computer prints presented at the exhibition the motif of a table corner was repeated 3 times over. The modifications introduced by the artist are limited mainly to the choice of colour and subtle details suggesting varying degrees of wear and tear of the table surface. The severe close-up and fragmentary editing overshadow the presentation aspect in favour of geometric structure of the composition in which the principal construction element is limited to the coloured ally uniform surface. The different colour schemes of the individual works create an impression of a structural metamorphosis in an apparently stable composition. The nature of the reproduced object undergoes total transformation. Hence, colour is the decisive factor that dominates the form and shape of the composition.

Other artists used the multiplication effect differently. In case of Vasserman�s, Kriauciunaite�s or

Boucher�s work multiplication should be treated in a similar manner to the repetitiveness of architectural elements of structural or ornamental nature in a construction.

In Vasserman�s works composition is based on complicated forms evenly distributed in three rows and columns which make up a constructive, linear drawing which is covered by an illusory presentation of a glass cube or a shiny semi-transparent oblong object. Among the nine presented elements only the central one has been singled out by rescaling and modification of the shiny surfaces. The multiplied forms perform the role of a rhythmic module on which the symmetry and static elements of the composition are based. This solution seems to draw on the structural arrangement of buildings, where the evenly distributed windows and distinctive portal are programmed according to hierarchic order. In Vasserman�s work colour underlines the rhythmic divisions, and amplifies the spatial effect of the illusory elements.

Colour fulfils a somewhat different function in the works of Elvyra Kriauciunaite. The tiny images of

flowers, insects and fruit arrange themselves in geometric patterns. The tone shifts from deep yellows to warm bronze repeated in every image �join� the separate elements in an indivisible, prismatic, and ornamental whole.

In the three compositions presented by Boucher one can find both the repetitive elements that provide the composition with rhythm and organisation, as well as the multiplied ornamental motifs. In the first category we have the multiplied forms of spikes or sharp needle-points interlaced with leafy vine-like plant shapes. The ornamental function is realized in the form of macro-scale images of organic matter, either woven into one of the centrally situated elements or dispersed in the form of a multitude of tiny circles and squares. As in the case in Kriauciunaite�s works, colour is used here as an element binding the ornamental whole together.

The work of Miros�aw Paw�owski is marked by the �patterns� of letters and numbers, half-hidden in the darkness or fragmentary human heads appearing like echoes of interrupted TV transmissions. Here, multiplication has the form of an erratic, incomplete transmission which caused the image to lose its individual characteristics, reducing it to a recognisable icon formula described by an ordered code of repetitive symbols. The economy of colours are limited solely to some red and blue light shafts that pierce the darkness which only serves to strengthen the impression of prevailing alienation.

Sebastian Dudzik

From the catalogue of the 5th International Print Triennial Colour in Graphic Art: NOW! Torun 2006, Poland