Organic paint(ing)s: from representation to collaboration

Abstract

Due to the multifaceted nature of colour phenomena, it is important to specify that the artistic practice described in this paper focuses on the materiality of colour, or the notion of colour-materials, i.e., material substances capable of creating chromatic effects. This artistic project aims to present colour-material as an autonomous and self-sufficient subject of artworks. For the purpose of demonstrating this, the organic pigment anthocyanin is chosen. Anthocyanins are organic pigments that are found in the leaves, petals, and fruits of a variety of plants. Together with carotenoids and flavonoids, the anthocyanins constitute the ‘palette’ of flora, and their function is to attract pollinators, protect the plants from ultraviolet light and repel predators. Previously, anthocyanins were used as paint; they have been mentioned in numerous historic colour recipes as a source of purple dyes or inks. However, this fragile, organic colourant could not withstand the rivalry of the constantly evolving and improving dyes and pigments. Anthocyanins were ousted from the domain of arts and textile dyeing because they could not provide sufficient colour stability, which is one of the most sought-after qualities in colours. On the contrary, nowadays, due to the growing concerns about the environmental threats from the extensive use of synthetic dyes, many are looking for alternative organic and environmentally friendly colours, even if they are impermanent. This project revisits the use of anthocyanin as an artistic paint. It draws its inspiration from the historic uses of this organic pigment in Europe and the pagan tradition of pysanka, the coloured Easter eggs in Ukraine, for which numerous organic paints were also extensively employed. The mutability and instability of anthocyanin allows us to rethink the use of colour in painting and shift attention away from its long-established representational function.