Vision carries color. Although the other senses have
used color metaphorically to describe auditory,
tactile or sensations of smell, it is only through
vision that we can experience color. We cannot
discern red through our touch nor hear it although
it may come to mind when we touch something hot or
hear a siren. Color is an intrinsic definer
that allows us to conceptually realize subtle shades
of variation in the physical world, in order to
distinguish objects one from the other. An orange
may disappear in an orange-colored bowl for instance
or a green snake in green grass. Nature uses color
to differentiate, attract, signal, and in nature the
ability to recognize the significance of color can
be a matter of life or death – once again that
snake…
Visual artists use color as one of their
tools, one that is very specific to the discipline.
The upcoming exhibition at Headbones Gallery
features two practiced artists where color means
more than its name. The recent works of Summerland’s
Robert Dmytruk and
Edmonton’s David
Cantine are brought together under the title COLOR
+, each artist having added their personal touch
onto color.
David Cantine has worked with four circles
and
hundreds (maybe thousands) of variations of colors
within a rectangular format for over
forty years. Within a philosophy of the many
permutations and sheer engaging interest, of
focusing within a model, Cantine explores the very
essence of color which is color’s variance and
relational impact. Color theory, which first
appeared in the renaissance, has been a
base-in-trade during art education but despite the
urge to pin color down to a pattern, because of the
many color theories formed on patterning
that work in contest, the area has
remained still open for exploration in a way that
appeals as much to the mind as to the senses. It is
this methodical, open-ended variance that sparks
David Cantine’s work.
Robert Dmytruk first studied under David
Cantine and their friendship and professional
liaison continues to this day. Dmytruk uses color as
nature does. He explores a number of patterns, sets
up relationships between ground and object, size and
composition, edges and insides so that although
there is a mechanical method – as in a repetition of
shapes or the repeated use of cut-outs, templates
and screens, the artist-at-play with the wit of
circumstance is evident. His
work reflects engagement and as if
cleaning up a potential for chaos employs the trait
that so often calms stress – play. It would be hard
to attribute angst to Dmytruk’s works. Patterns
grant regular or intelligible forms that coincide
with the desire for stability. They mark space and
lend reference. Dmytruk’s patterning gives the
illusion of relief as he visually plays with the
vertical surface.
Gathered at the same table once again for
COLOR +, Dmytruk is generous and gives a lot from a
full banquet array. Cantine has culled and
with precision offers a wealth of options from a
spare plate. The meat of the matter, the common
staple for each, has been color. The plus sign is
personal; for Cantine it is a basic recipe, for
Dmytruk a cacciatore. But the main ingredient
remains the same – COLOR.
COLOR + with David Cantine and Robert
Dmytruk opens at Headbones Gallery, Saturday August
10, 2-5 PM. The public is welcome and the artists
will both be in attendance. The exhibition closes
September 28.
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