A painting is simply a screen between the producer and the spectator where both can look at the thought processes residing on the screen from different angles and points in time. It enables me to look at the residue of my thinking.
AMc: Colour is clearly fundamental to your work. How do you go about giving it form, or does it find it itself? Or is the form simply in the mode in which the colour exists – as pigment, as a fluid mixture, as spray paint, as a surface applied on top of another surface?
KG: The way I understand and use colour, it does not generate fixed meanings, and it does not serve specific functions or hierarchies. I want to infuse energy and transformation into a situation or space, so as to trigger alternatives to our habitual responses.
Grosse is celebrated internationally for her works of immense scale and kaleidoscopic colour which create sublime and otherworldly environments. Painting directly onto existing architecture, interiors and landscapes, she incorporates reams of fabric, mounds of earth and slabs of concrete.
HER IMMENSE INSTALLATIONS … EXAMINE HOW PAINTING FUNCTIONS IN AN EXPANDED FIELD
Grosse finds colour as the significant part of her practice, so do i. Therefore, it’s important to let go the thoughts of adding figuration or representation in the form of colour, if I want to explore just how colour affects mood, reflects personalities, and gestural process. For this instance, exploring materiality in different colour exploration, break the traditional of using paper/canvas or traditional surfaces, how about colour in dirt, colouring plants, colouring recycled objects, colouring shells and what not.