MONOCHROMES

 

Monochromes

Are multicolor paintings more artistic than monochromes?

Sculptors have abandoned colors since ancient times.The creativity in forms of architectural and design beauty do not need colors.

One feels a uniformly monochrome object too simple. Are single color surfaces with rough textures to be considered more expressive? Since the end of figurative paintings, famous examples of monochrome paintings were produced as Malevitch’s “White on white”, Richard Serra’s giant black encaustics, Y. Kleins blues, the “Achromes” of P. Manzoni,  the cuttings of Fontana and many others.

Is monochrome painting a kind of rebellion against classic style where painters searched a balance between “hot” and “cold” colors? Or a way to stress non-figurative nature of one’s painting?

Putting complementary or strongly contrasting pigments in one work can be perceived as drama expression, but we often associate strong emotions  with one tint.

I call monochromes my works with a dominance of one color and its near variations. I call these experiments “monochromes”, even when in them one sees well some “secondary” nuances within the same pigment family or small touches and strokes in contrasting pigments.

In my  production there are monochrome groups of “whites” (W), “grays” (G), “reds” (R), “blacks” (B), “yellows” (Y), “skin-colors” (Sk) and “texture” (T).