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It's been on my mind – what would something be like if it were unbalanced? It's been a vexing question for a long time. But it took the experience of… - Kenneth Noland
" "It's been on my mind – what would something be like if it were unbalanced? It's been a vexing question for a long time. But it took the experience of working with radical kinds of symmetry, not just a rectangle, but a diamond shape, as well as extreme extensions of shapes, before I finally came to the idea of everything being unbalanced, nothing vertical, nothing horizontal, nothing parallel. I came to the fact that unbalancing has its own order. In a peculiar way, it can still end up feeling symmetrical. I don't know but what the very nature of our response to art is experienced symmetrically.
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About Kenneth Noland
Kenneth Noland (10 April 1924 – 5 January 2010) was an American abstract painter known for his Color Field works, although in the 1950's he was thought of as an abstract expressionist and in the early 1960's he was considered a minimalist painter. Noland helped establish the Washington Color School movement. His work was early influenced by Helen Frankenthaler and her so-called soak-method.
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Alternative Names:
Kenneth Clifton Noland
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Additional quotes by Kenneth Noland
It's a simple fact, when you move from one color space to another color space, that if there's a value contrast you get a strong optical illusion. Strong value contrast can be expressive and dramatic. Like the difference between high or low volume or the low key and the high keys on the piano.. .Actually, if you're moving from one flat color to another flat color, if there's a difference of color – if one is matte and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side.. .Another reason is that a matte color and a shiny, transparent color are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that. So there's an expressive difference you can get that gives you more expressive range.
[the 'Surfboards' - series of the mid-70's] were almost like cut-out figures without being figurative...I think of them, in some way, as being like figures; they remind me of figures in vertical Cubist paintings. Even the small pictures have that kind of human proportion in the rectangles. It's not exactly a reference, but the relation of length to width in the rectangles is like a person.
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