The cycle is based on the principle of mapping the basic units of time to the primary colours of light, where hours = red, minutes = green and seconds = blue.

Following this set of rules the progression of time leads to the increase of the corresponding colour filling continuously, starting from the bottom to the top, the render plane. In this manner each second leads to the increase of the blue surface, each minute increases the green and each hour the red. The resulting overlaps of these primary colour surfaces creates the secondary colours, according to the additive colour model, yellow (red plus green), cyan (green plus blue), purple (blue plus red). In this manner the progression of time, the increase of overlapping colour surfaces, leads to an increasing brightness culminating when the three colours overlap completely at midnight, thus becoming white and complete black when there is no colour overlap at noon.

This time-based system founded on the parametric relation between time and light creates a periodic rhythm comparable to the course of the earth around the sun with its circadian rhythm of days and nights.

The description of this time and light relation in form of an abstract, geometric an elementary process relates the works conceived within the ‘chrono.cycle’ to the researches and aesthetics of the conceptual and minimal movement of the 60’s hard edge painting while confronting it to the systematic approach of programmed, parametric, art.

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