Cheyney Thompson, Chromachrome 19 (5BG/5R) macaire, 2009
Oil on Canvas, 88 X 111 in.
From the press release:
The scanned fabric sample is divided into three equal sets of numeric data which correspond to the value axis of the digital image, resulting in a template which consolidates the value information into zones of highlight, mid-tone, and dark. The lights and darks of the image provide the coordinates for the distribution of complementary colour pairs based on Albert Munsell’s colour model. These complementary colour pairs are arbitrarily assigned to the individual paintings as a means of providing a minimum of identity within the ensemble. Each painting in the sequence has a unique format which functions as a recitation of the variety of the types of painting supports which have constituted the grounds for the formation of the many genres and attendant subjects of painting. Their designation as chromachromes is intended to signal their filiation with that special class of painting, the monochrome. In response to the monochrome’s claim to universality, chromachromes will always find themselves to be subsumed in the rationalized framework of a complete color system.