Page 39 - Studio International - May 1973

SEVEN DUTCH ARTISTS

Peter Struycken (Top to bottom)
Figure I
Figure 2
Structure II Figure 3
Structure II 1972
150 x 150 cm

In 1972 I realized a group of six paintings
(Structures, serially numbered), based on a point
of departure and a procedure described below.
The group consists of three groups of two;
those two are each other's variants. Two have
four colours, two have five colours and the
remaining ones have seven colours. Shown here,
as an example, is one with seven colours.

Scheme of Structures IIIA and /// 1972 (fig. i).
Structures IIIA and III are built up of 6 x 6 cells.
Every cell consists of 3 x 3 positions. The
computer programme FIX-VAR regulates the
positions within the cells and the cells within the
structure. Some of the positions within the cells
(The colour reproduction is of Structure II
are FIXed and they are identical in all cells (for containing not seven but five colours. However the
indication of fixed positions as they appear in system of their distribution is exactly the same as the
fig. i, see fig. 2); remaining positions are one described in this note regarding a picture with
VARiable (for indication of variable positions seven colours.)
see fig 3). In order to make the positions visible
colours have been chosen which both differ as
much as possible, and are visually striking in
equal degree. The function of the colour is that
of position-indicator. This function would not
be performed if the colours, e.g., were too
intense, thereby making the whole a 'colour-
picture' rather than a 'position picture', or if the
borders between the colours were too vague,
thereby making the forms blend and become
insufficiently indicative of their individual
position, or if the forms were too different and
would therefore demand more attention for
their size and shape than for their position. The
colour arrangement that to my mind meets
those requirements is as follows. The maximum
differences in colour-type (red, orange, yellow,
green, blue, purple; the colour tones). The
maximum differences in lightness or hue (the
scale between white and black). The maximum
difference in saturation (the scale between the
strongest (maximum purity) and the weakest
(maximum greyness) versions of colour. The
coupling of the greatest saturation with the
least lightness (the strongest colour is at the
same time the darkest). The coupling of the
least saturation with the greatest lightness (the
weak colour is at the same time the lightest).
The reason for the combination of the strongest
colour with the greatest darkness and of the
weakest colour with the greatest lightness, is
that both saturated colours and light colour
show a strong tendency to demand attention
while unsaturated colours and dark colours do
not have that quality. q
221