Color vaciado. Iñaki Domingo – Luis Adelantado Valencia

Press release/Dossier

 
 
Color vaciado. Iñaki Domingo

 
 

Color vaciado, Room 3. General view
Sin título (Serie Color vaciado), 2016. Inkjet Print on Archival Paper (diptych). 183 x 123 cm / each one
Sin título (Serie Color vaciado), 2014. Inkjet Print on Archival Paper. 102 x 68,5 cm
Sin título (Serie Color vaciado) (Detail), 2014. Inkjet Print on Archival Paper. 102 x 68,5 cm
Sin título (Serie Color vaciado), 2014. Inkjet Print on Archival Paper (diptych). 100 x 66,7 cm / each one
Color vaciado, Room 3. General view
Sin título (Serie Color vaciado), 2015. Inkjet Print on Archival Paper. 70 x 46,7 cm
Sin título (Serie Color vaciado), 2015. Inkjet Print on Archival Paper. 71 x 47,7 cm
Sin título (Serie Color vaciado), 2015. Inkjet Print on Archival Paper. 71 x 47,7 cm

Sin título (Serie Color vaciado), 2014. Single channel video. 5'
 Sin título (Serie Color vaciado), 2014. Single channel video. 5'


 
 

Press release

 
 

Luis Adelantado is pleased to invite you to Color vaciado, the first individual exhibition of Madrilenian artist Iñaki Domingo at our gallery, after he took part in the XVIII CALL of Luis Adelantado.
The works of Color vaciado were created over the last five years and are part of one of Iñaki Domingo’s lines of research on the mechanisms of visual perception.
In this project, the artist focuses his attention on the behaviour of colour in images and how they relate to each other depending on the medium and the context in which we observe them. By taking as a starting point a quote from Josef Albers—who stated that “colour is the most relative medium in art”—, he proposes a colourimetric analysis in which the conflict regarding the ways of perceiving colour in terms of its context leads us to a representational paradox.
What happens when we take a colour photograph of a monochromatic space? And then, when it is printed, framed, exhibited, illuminated… How does our perception of these images change in function of these conditioning factors?
Following Albers’s approach, images are always affected by external agents that make them take on a state of constant fluctuation, which makes their appreciation or reliable reproduction practically impossible.