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The colour spectrum series, 2005 - i8 Gallery, Reykjavik, 2009 – 2005
The colour spectrum series, 2005
i8 Gallery, Reykjavik, 2009 – 2005
The colour spectrum series, 2005 - Tanya Bonakdar Gallery, New York, 2006 - Photo: Christopher Burke
The colour spectrum series, 2005
Tanya Bonakdar Gallery, New York, 2006
Photo: Christopher Burke
The colour spectrum series, 2005 - Emi Fontana West of Rome, Jamie Residence, Pasadena, 2005 - Photo: Fredrik Nilsen
The colour spectrum series, 2005
Emi Fontana West of Rome, Jamie Residence, Pasadena, 2005
Photo: Fredrik Nilsen
The colour spectrum series, 2005 - Jarla Partilager, Stockholm, 2008 – 2005 - Photo: Mathias Johansson
The colour spectrum series, 2005
Jarla Partilager, Stockholm, 2008 – 2005
Photo: Mathias Johansson
The colour spectrum series, 2005 - Listasfn Reykjavik – 2009 - Photo: Listasfn Reykjavik
The colour spectrum series, 2005
Listasfn Reykjavik – 2009
Photo: Listasfn Reykjavik
The colour spectrum series, 2005 - Listasfn Reykjavik – 2009 - Photo: Listasfn Reykjavik
The colour spectrum series, 2005
Listasfn Reykjavik – 2009
Photo: Listasfn Reykjavik
Installation view: Inside the new blind spots, 2022 - PKM Gallery, Seoul – 2022 - Photo: PKM Gallery, Yongjoon Choi
Installation view: Inside the new blind spots, 2022
PKM Gallery, Seoul – 2022
Photo: PKM Gallery, Yongjoon Choi
Installation view: Inside the new blind spots, 2022 - PKM Gallery, Seoul – 2022 - Photo: PKM Gallery, Yongjoon Choi
Installation view: Inside the new blind spots, 2022
PKM Gallery, Seoul – 2022
Photo: PKM Gallery, Yongjoon Choi
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This grid of forty-eight framed monochrome prints presents an approximation of the light spectrum translated into pigments. The transition, from deep violet at the top left to dark crimson at the bottom right, was created using the process of photogravure. Like etching and aquatint, photogravure is an intaglio printing technique, but unlike those methods, photogravure plates are made using a photographic process. In this series, the plates contain no ‘image’ per se – just a uniform grain structure. Each panel was inked by hand with between three and seven colours, and these were carefully merged to obtain a completely seamless transition.

The colour spectrum series is part of Eliasson’s broader investigation of colour phenomena and colour theory, evident most notably in the ongoing Colour experiment series and in the series of photogravures also on view at PKM: The blue colour circle, The red colour circle, and The yellow colour circle, all 2008.