Looking for the Red Dot
Left to right:
‘Matrix’, 2020, ink on paper, 35x35cm framed, 30.5×30.5cm unframed:
It is the framework essential to the making of my work. It encapsulates many hours of sketchbook trials and holds the potential of new works to come. I draw it in pencil every time I produce a new geometric sequencing and erase it from the background once the work is completed. For the purpose of the show ‘The Value of Nothing’ it loses its ephemeral quality as I used white ink.
‘The Place of The Red Dots’, 2020, ink on paper, 35x35cm framed, 30.5×30.5cm unframed:
This work is part of an ongoing investigation and reflects my interest in the role of rules and chance in the natural world.
‘Residue’, 2020, ink on paper, 35x35cm framed, 30.5×30.5cm unframed:
This is the remaining evidence of my process which I would usually discard after completing my work. This mark making enables me to achieve the standard I set myself to complete the work: It allows me to promptly clean the nib of my pen and get the ink flowing. It is the only loose gesture in this project. It is a trace of the process, a reminder of what happened, an evidence.
Colour wheel
2D and 3D explorations of colour sequences and logic between primary and secondary.
In progress…
Tertiary Chromatic Study
In this work I have reduced primary colours to basic geometric shapes following Kandinsky’s association: triangle=yellow, circle=blue and square= red. I then expanded this system to the first tertiary colours of the colour wheel.
These were executed for the Zeitgeist show. Reflecting on Zeitgeist, An idea would be to draw the geometric shapes associated with the colours of each European flag. These colours, which symbolise and encapsulate the beliefs and cultural identities of the countries they represent, would be reduced to an arrangement of basic geometric shapes. Since most flags display primary and secondary colours and since the latter are the result of combined primary colours, one can expect that this arrangement would present many repetitions and it would become visually difficult to identify which flag is which. Instead, the work might evoke more uniformity.
Frederique Jones 