Light and Colour

The works in this section use colour in different ways to create impressions of light and movement.

Wassily Kandinsky (1866–1944) wanted his art to go beyond straightforward representation, giving viewers a more participatory experience, like listening to music. He aimed to create a sense of movement in his work and saw colour as an essential tool in this. These same principles can be seen the work of Bridget Riley (born 1931), who uses geometric shapes and colour to explore the nature of perception. Riley describes her use of different tones as a change ‘tempo’, pitching shades of colour ‘against the structure of the formal movement’. Nataraja 1993 refers to the Hindu god Shiva, who is usually depicted with many arms in his form as the cosmic dancer.

Combining projected light with a painted surface, Peter Sedgley (born 1930) creates the illusion of movement on the canvas. A series of spray-painted concentric circles of different colours are arranged to present a visual diaphragm capable of the most radical colour changes. Sedgley sees these adjustments in colour to be akin to tuning a musical instrument.

光与色

这个展厅中的作品以不同的方式运用色彩来创造出光与运动的印象。

瓦西里·康定斯基（1866—1944）希望他的艺术能够超越直截了当的再现，给观者更多的参与性体验，如同聆听音乐一般。他的目标是在作品中创造出一种运动感，并将色彩视为其中必不可少的工具。这些相同的原理在布里奇特·莱利（1931—）的作品中也有所体现，她用几何形状和色彩来探索感知的本质。莱利将她对不同色调的运用描述为一种“节奏”的变化，将色彩的深浅“与形式运动的结构相对应”。创作于1993年的《娜塔罗迦》指的是印度教中的湿婆神，通常被描绘成有许多手臂的“宇宙舞者”。

彼得·塞奇利（1930—）将投射光与喷绘表面相结合，在画布上创造出运动的错觉。画布上喷绘着一系列不同颜色的同心圆，呈现出能够进行最极端色彩变化的视场光阑。塞奇利认为颜色的调节类似于为乐器调音。