Colour Sound 2 blue
Publisher/Manufacturer : Galerie Denise René, New-York
Production period : 1970's
Circa : 1973
Country of production : United States
Special features : Limited edition to 125 pieces
Materials : Colour screen-print on wove paper, with cut and collaged paper elements, presented in a Plexiglas display box.
Dimensions : 23 X 21 cm
COL KG 01
Created in 1973 by Karl Gerstner and published by Galerie Denise René, Color Sound 2 Blue is a multiple presented in a 23 × 21 cm Plexiglas display box. The work combines colour screen-printing on wove paper with cutting and collage. Several coloured geometric forms, superimposed at varying depths, create a chromatic relief whose appearance changes according to the viewer’s position and variations in light. The Plexiglas protects the paper elements while enhancing their spatial character, placing the work at the intersection of printmaking, collage and kinetic art.
This construction exemplifies Gerstner’s exploration of the relationship between colour and music: variations in hue, intensity and depth function like the intervals of a visual score. Complete examples retaining their original Plexiglas box are particularly rare. The Color Sounds series, associated with exhibitions at Galerie Denise René, is represented in the documentary collections of MACBA.
Designer :
Karl Gerstner
Karl Gerstner is a major figure in Concrete Art and Swiss graphic design of the second half of the twentieth century. At the intersection of art, science, and visual communication, he developed a body of work based on the study of systems, color, perception, and the relationships between order and variation. As a graphic designer, painter, and theorist, he contributed to the renewal of contemporary visual language by exploring modular structures and generative compositions. His Color Sound series, presented at Galerie Denise René in the 1970s, reflects his research into the correspondences between chromatic perception, rhythm, and movement. Conceived as visual experiments organized according to combinatorial principles, these works extend his interest in a form of creation in which method becomes a tool for invention. His work, held in numerous international collections, occupies an essential place in the history of Concrete Art, graphic design, and design.
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