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CHRISTINA AUGUSTESEN

COLOUR SPACES: HORISONTAL FIELDS 2017

VIA Campus N, Aarhus

 

Med syv enkeltstående lysværker, der horisontalt forbinder sig på tværs af kantinens modervæg, har Christina Augustesen frembragt det samlede lysværk Colour Spaces: Horisontal Fields. Værket er særligt produceret til VIA Campus N og er udfærdiget i samarbejde med Statens Kunstfond.

 

Om værket udtaler Augustesen sig:

“Serien her tager afsæt i min inspiration fra naturens side; dens flader, retninger og ikke mindst farvepalette. Herfra transporterer jeg mine ideer igennem mit kunstige lysunivers, hvor jeg til dette formål har forsøgt at komponere et minimalistisk og abstrakt landskabsmaleri. Dette bestående af syv enkeltstående lysenheder, der tilsammen danner et vedvarende og pulserende lysfænomen, som kan opleves døgnet rundt. Den endelige farvekomposition er sammensat af inspiration fra min pendlen imellem København og Aarhus og dertil koblet mine overvejelser omkring de eksisterende farvekoder, som udfolder sig på VIA Campus N.”

 

Værket, der strækker sig over en 25 meters vægflade, og hvis farvematrix eksempelvis referer til gul-grønne sennepsmarker, brunrøde trækroner og violette aftenhimler, er ligeledes komponeret med en orientering omkring den eksisterende arkitekturs horisontale linjer og bevægelser.

 

Augustesen tilføjer:

“Serien søger også ind i en fascination af det horisontale, det laterale. Fra at udvide sine faglige og menneskelige horisonter til bla. det at skifte mellem fortidige, nutidige og fremtidige horisonter; det laterale subjekt, som et åbensindigt, nysgerrigt og søgende væsen. Sidstnævnte udsagn er med tanke på de mange studerende, som hver dag møder ind for at tilegne sig nye erfaringer”.

 

Colours Spaces: Horisontal Fields er doneret af Statens Kunstfond, som et stedspecifikt værk, til VIA Campus N.

 

Materialer:

Værkerne består af akrylplader med semitransparente og farvede filtre, der diffuserer og indrammer lyset. Disse belyses med en skjult og kunstig belysning (hvidt og farvet lys) som styres i sekvenser.

Dette lys er programmeret forskudt, så den samlede lyssætning aldrig er den samme og derved altid unik.

 

 

Michael Roloff, Kurator og konsulent Statens Kunstfond

 

 

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LIGHT, COLOURS, AND SHIFTING PLAYS IN-BETWEEN

 

I frame and control light via translucent surfaces, and employ diffuse light to combine colours, such that the light is gradiated from light to dark and from one colour to another.

Depending on the amount of light and its colourations, different colour combinations are created that range from delicate shades to more deeply saturated hues.

Soft, diffuse light is juxtaposed against precise vertical elements which establish contrasting exactitude. In the gradation between light and dark, spaciousness and depth are created, and the artworks shift back and forth between appearing as two and three dimensions. As one moves alongside the artworks, variations and overlaps of the surfaces occur, whereby new colours emerge and the surrounding spaces seem to expand and contract depending upon one's position in relation to the artworks.

 

I work with daylight and electric light as the light sources in my sculptures. In the artworks where I work with daylight as the light source, I frame and diffuse the daylight through various forms and translucent materials. I am interested in daylight’s dynamic properties; its changes in intensities, colours, and directionalities across the course of a day and over the seasons. I incorporate these natural, lively changes into the artworks – to become additional shifts and movements in each design.

 

In the artworks where I utilise electric light, the light sources are controlled in order to create concentrated and saturated colours that shift and change at different temporal durations.

I fabricate the works using translucent acrylic sheets as canvases for composing the electric light, illuminating the surfaces from behind. The acrylic sheets are formed into planes, which are then staggered in order to produce variations in the diffusion of the light and the spatial experiences.

 

Depending upon the colour and intensity of the electrical light, different colour shades are generated via the interplay of the polychromy of the light and the materials.

Moreover, the immaterial light is made visible via the materiality of the treated acrylic planes.

 

My inspiration for working with light and colours stems from an understanding of light as a dynamic phenomenon, including understanding how colours occur in light’s refractions. Likewise, I am inspired by the ways that light and colours help accentuate different spaces and create diverse atmospheres. My primary interest is in the interactions occurring in-between the immateriality of light and the materiality of surfaces, including the ways in which these two are co-dependent upon one other, and consequently enable people to perceive surfaces and spaces in meaningful and inspiring ways.

 

In short, in my creative practice I am fascinated by the shifts occurring in-between light intensities and colour nuances, including light’s immaterial colour palette and its interplay with the colour palettes of materials. These are my primary media and ongoing inspirations.

 

 

Christina Augustesen

 

 

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© CHRISTINA AUGUSTESEN. ALL RIGHTS RESERVED.