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I am making an experiment, an attempt today,
I have experience and the ability to compose ranges, choose colors,
I like experiences, empirical work
I postulate, I hypothesize, I try to formulate my thoughts.
For this presentation, I chose a reflection on the color and the reasons for these meetings which have brought us together for so many years.
The rhythm of the seasons is disrupted in the reality of the climate as well as in that of marketing.
What is the point of projecting the winter of 2526, since we are subject to the increasingly frenetic rhythms of trends - which are no longer trends - but rather of continuous stream of news like news channels in a perpetual live mode.
We questioned the consequences of the deployment of artificial intelligence,we got there very quickly and on a large scale.
The artistic foundations of writing, images and music are unceremoniously swept aside,
authors wake up with hangovers, screenwriters in Hollywood, musicians, visual artists
feel in danger.
How, not to live but to “be”, in this system?
We are people of matter and we negotiate with reality all the time.
Are we going to become a niche? A small world of almost microscopic experts in the immensity of digital production detached from any material contingency?
This question disturbs me a lot. I feel like a horse that balks at an obstacle, I cannot feel excited about these intelligent artificialities even though the future of materials fascinates me.
In this territory of materiality, textiles, fashion or design, two paths will probably diverge from each other, calling into question the relationships between art, design, industry and communication as we currently know them, that is to say deeply interdependent,
to the point of being unhealthy sometimes
with the merchandization of art and the tyranny of buzz.
The game of trends as we know them will be seriously shaken up.
One of the 2 paths is that of pure industrial design, where the application of color is determined by use, the result of a consensus, of teamwork, of a community, for tailor-made, personalized responses. The useful, consensual color where we are forced to come out of our ivory tower, working with, rather than working for. And that's good.
The field is still wide when we think of all the environments, objects, materials that surround us. Ecology and empathy will enormously move the lines.
We are going to have to become more passionate about the chemistry of pigments and colors.
We can imagine that initially, bright colors will become rarer, whites that are too optical, bright colors that are too fluorescent, will be avoided.
The other path is that of extreme sensoriality.
The color bath. The plasticity of color.
The unique bias, the free vision of a visual artist or an artist, without limits.
With meaning or pure subjective vision. yes, Free.
Feel the color, its vibration, its benefits, its materiality, its touch, its smell.
Here it is an idea of fullness, depth, quality of color,
which can also be light.
The hue expressed in its fullest identity and intensity.
An explosive and carnal blue, a plastic mauve, a strident yellow like a splash of velvet, a bottomless plush sky, a rounded brown, a too crisp green, a melting grape red, iridescence and metals in which the eye gets lost or tries to look at himself.
So my colors are chosen according to the impulse of the moment
I no longer try to control
they are duo, they are contradictory, they are materials
they oscillate between hope, sweetness,
colors that reassure, that soothe
and the color punchline, direct to the stomach, violent and disturbing.
I chose them like Marie Kondo tidying up, because they made me emotional.
They show the chaos of thought and the impulsive unconsciousness of doing.
I don’t know what they announce, if they are significant and prospective,
They're right there.
They wave to us.
Text written for the French Color Committee AW 2526
October 5, 23
