Graselli theGlass Cabinet

Colour Theory by Graselli

The colour tables I conceived between 1986 and 1988 were meant as a colour reduction manual. Every colour shade which needs to be grinded is based on the three primary colours. In addition every colour mixing was admixed with some grey tones to soften them. (Colour tables from 1986 - 1988, Wax-oil-chalk on baking paper)
If you observe a wing of a dorbeetle (Geotrupidae) under an electron microscope, then a spectrum of endless colour shades opens up, although it's just a fragment.

As from 2012, when the initial work of “Blood & Rust“ was created, the desire to create more colour panels to all major cycles grew. That includes painting, installation, sculpture and a lot of rotting material but only if they met my preferences.

Since 2015 they are components of many ensembles, where objects, paintings, photos, encaustic, rotted fruits are facing each other and communicate. The colour panels changed to resonating bodies in a metaphysical sense, their density and complexity expanded and enhanced the ensemble as a whole. One should imagine pigments as a narrative, as a stem rust or the driftage of spray-haze-drops.

Alfred Graselli
9th February 2021